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SHAKESPEARE'S 

COMEDY   OF 

TWELFTH   NIGHT 

OR 

WHAT   YOU    WILL 

EDITED,   WITH   NOTES 
BY 

WILLIAM    J.    ROLFE,   Lnr.D. 

FORMERLY   HEAD   MASTER  OF  THE  HIGH   SCHOOL 
CAMBRIDGE,   MASS. 


ILLUSTRATED 

PROPERTY  OT 
DEPARTMENT  OF  DRAMATIC  ART 

NEW  YORK  . : .  CINCINNATI  • :  -  CHICAGO 

AMERICAN  1BOOK  COMPANY 


COPYRIGHT,  1904,  BY 
WILLIAM  J.  ROLFE. 


TWELFTH   NIGHT. 
W.   P.   2 


ART  DEP-f 


PREFACE 


MY  former  edition  of  Twelfth  Night,  first  published 
in  1879,  is  now  substantially  remade  on  the  same 
general  plan  as  the  revised  Merchant  of  Venice  and 
other  plays  that  have  preceded  it. 

The  notes  on  textual  variations  have  been  either 
omitted  or  abridged,  as  this  play,  like  most  of  the 
others  read  in  schools  and  colleges,  is  now  among  the 
twelve  plays  that  Dr.  Furness  has  edited.  No  teacher 
can  afford  to  do  without  his  encyclopedic  volumes, 
which  furnish  not  only  a  complete  variorum  of  the 
textual  readings,  but  a  condensed  library  of  the  Eng- 
lish and  foreign  literature  relating  to  each  play. 

For  most  of  the  "  Critical  Comments  "  in  the  former 
edition  I  have  substituted  matter  of  my  own,  much  of 
which  is  drawn  from  familiar  lectures  prepared  for 
audiences  of  teachers  and  students. 

Minor  changes  have  been  made  throughout  the 
Notes,  and  many  new  ones  have  been  added,  includ- 
ing a  considerable  number  in  place  of  those  referring 
to  my  former  editions  of  other  plays.  The  book  is 
now  absolutely  complete  in  itself. 

I  believe  that  teachers  will  prefer  the  new  edition  to 
the  old  one ;  but  both  can  be  used,  without  serious 
inconvenience,  in  the  same  class  or  club. 


PROPERTY  OF 
DEPARTMENT  OF  DRAMATIC  ART 


CONTENTS 

PAGE 

INTRODUCTION  TO  TWELFTH  NIGHT 9 

The  History  of  the  Play 9 

The  Sources  of  the  Plot .11 

General  Comments  on  the  Play        .         .         .         .         .12 

TWELFTH  NIGHT 21 

Act  I       .  23 

Act  II 47 

Act  III 72 

Act  IV    .         .        c 101 

Act  V      .    '     6        , „        .in 

NOTES    .  131 

APPENDIX 

Comments  on  Some  of  the  Characters      ....  225 

The  Time-Analysis  of  the  Play 238 

List  of  Characters  in  the  Play  .....  239 

INDEX  OF  WORDS  AND  PHRASES  EXPLAINED        .        .        .     241 


'INTO  THE  CHANTRY 


PROPERTY  OF 


SEA-FIGHT  (iii.  3.  26) 


INTRODUCTION    TO    TWELFTH    NIGHT 


THE  HISTORY  OF  THE  PLAY 

THIS  play  was  first  printed,  so  far  as  we  know,  in  the 
folio  of  1623,  where  it  appears  under  the  title  of 
"  Twelfe  Night,  Or  what  you  will,"  and  occupies  pages 
255-275  in  the  division  of  "  Comedies." 

The  earliest  reference  to  the  play  that  has  been  found 
is  in  a  MS.  diary  of  John  Manningham,  a  member  of 
the  Middle  Temple,  which  is  preserved  in  the  British 
Museum  (MSS.  Harl.  5353).  The  passage  reads  thus  : l 

1 1  give  it  as  printed  by  Furness,  who  takes  it  from  the  Camden  Society 
Reprints.  No  two  editors  print  it  in  precisely  the  same  form.  Collier, 
Knight,  and  Staunton  have  "  inscribing  "  instead  of  "  in  smiling,"  and 
Hudson  omits  the  words. 

It  will  be  seen  that  Manningham  refers  to  Olivia  as  a  "  widdowe." 

9 


IO  Twelfth  Night 


"FEBR.  1601. 

"  Feb.  2.  At  our  feast,  wee  had  a  play  called  Twelue 
Night,  or  What  you  Will,  much  like  the  Commedy  of 
Errores,  or  Menechmi  in  Plautus,  but  most  like  and 
neere  to  that  in  Italian  called  Inganni.  A  good  practise 
in  it  to  make  the  Steward  beleeue  his  Lady  widdowe 
was  in  loue  with  him,  by  counterfeyting  a  letter  as  from 
his  Lady  in  generall  termes,  telling  him  what  shee  liked 
best  in  him,  and  prescribing  his  gesture  in  smiling,  his 
apparaile,  etc.,  and  then  when  he  came  to  practise  mak- 
ing him  beleeue  they  tooke  him  to  be  mad." 

As  Twelfth  Night  is  not  included  in  Meres's  list  of 
Shakespeare's  plays  in  his  Palladis  Tamia,  we  may 
infer  that  it  was  written  between  the  publication  of  that 
book,  in  September,  1598,  and  February,  i6oi[2].  It 
seems  probable  from  Manningham's  detailed  descrip- 
tion that  it  was  comparatively  a  new  play  when  he  saw 
it.  It  is  assigned  by  the  majority  of  critics  to  1600  or 
1601. 

The  play  is,  on  the  whole,  well  printed  in  the  folio, 
and  the  difficulties  in  the  text  are  comparatively  few. 
It  is  divided  into  acts  and  scenes,  but  has  no  list  of 
dramatis  personce. 

The  name  Twelfth  Night  was  probably  suggested  by 

It  is  possible,  as  Collier  suggests,  that  she  was  so  represented  in  the 
comedy  as  first  performed,  or  the  writer  may  have  been  misled  by  the 
fact  that  she  was  in  mourning  for  her  brother.  See  also  on  iii.  4.  57 
below. 


Introduction  II 

the  time  of  its  first  production,  or  by  "  its  embodiment 
of  the  spirit  of  the  Twelfth  Night  (twelfth  after  Christ- 
mas) sports  and  revels  —  a  time  devoted  to  festivity  and 
merriment "  (White).  The  second  title,  Or  What  You 
Will,  seems  to  imply  that  the  first  has  no  special  mean- 
ing, though  Ulrici  sees  a  subtle  significance  in  it.1 

THE  SOURCES  OF  THE  PLOT 

There  are  two  Italian  plays  entitled  GP  Inganni  (The 
Deceits),  published  in  the  latter  part  of  the  sixteenth 
century,  and  containing  incidents  somewhat  resembling 
those  of  Twelfth  Night.  In  one  of  them  the  sister  who 
assumes  male  apparel  bears  the  name  Cesare,  which 
may  have  suggested  Shakespeare's  Cesario.  A  third 
Italian  play,  GV  Ingannati,  has  even  a  closer  likeness  to 
Twelfth  Night,  and  in  its  Induction  we  find  the  name 
Malevolti,  of  which  Malvolio  may  be  a  variation.  It 
has  been  recently  discovered  (see  the  preface  to  Fur- 
ness's  "  New  Variorum  "  edition  of  the  play)  that  a 
Latin  translation  of  this  Italian  drama,  under  the  title 
of  L&lia  (the  name  of  the  heroine),  was  performed  at 
Queen's  College,  Cambridge,  in  1590,  and  again  in 
1598.  Shakespeare's  "  small  Latin  "  was  large  enough 
for  the  reading  of  this  play,  and  he  may  have  been  in- 
debted to  it  rather  than  to  any  other  source  that  has 
been  suggested.  It  has  been  generally  assumed  that  he 

1  See  half  a  page  on  the  subject  in  his  Shakspe are's  Dramatic  Art 
(Schmitz's  trans,  of  3d  ed.  vol.  ii.  p.  5). 


12  Twelfth   Night 

must  have  read  and  used  the  version  of  the  story  by 
Barnaby  Riche,  in  his  History  of  Apolonius  and  Silla, 
included  in  Riche  His  Farewell  to  Militarie  Profession  ; 
but  Furness  doubts  that  Shakespeare  ever  read  the 
"coarse  repulsive  novel."  The  resemblances  between 
the  story  and  the  play  are  few  and  slight.  "  Let  noth- 
ing induce  us  to  contaminate  the  spotless  Viola  and  the 
haughty  Olivia  by  the  remotest  hint  of  a  kinship  with 
the  weak  Silla  and  the  brazen  Julina." 

From  whichever  source  the  dramatist  derived  the 
hint  of  his  plot,  he  owed  to  it  only  a  few  incidents  and 
the  mere  skeleton  of  some  of  the  characters.  Malvolio, 
Sir  Toby,  Sir  Andrew,  Fabian,  the  Clown,  and  Maria 
are  entirely  his  own  creation ;  as  indeed  all  the  other 
actors  in  the  drama  are  in  all  that  gives  them  life  and 
individuality. 

GENERAL  COMMENTS  ON  THE  PLAY 

Twelfth  Night  is  the  brightest  and  sunniest  of  the 
three  plays  of  Shakespeare's  "  golden  prime  of  comedy." 
As  You  Like  It  and  Much  Ado  both  have  a  larger  ad- 
mixture of  the  serious  and  sentimental,  but  that  element 
in  Twelfth  Night  is  of  the  most  delicate  and  ethereal 
character.  The  play  was  meant,  as  the  title  indicates, 
for  the  climax  of  the  holiday  season,  when  the  sport 
and  revelry  are  at  their  height,  and  sober  occupations 
and  serious  interests  are  laid  aside  and  forgotten.  Only 
enough  of  the  shadow  of  the  workaday  world  is  left  to 
form  a  background  to  the  lively  picture,  and  to  remind 


Introduction  13 

us  that  life  is  not  all  pleasure  and  pastime,  but  that 
after  the  Twelfth  Night  revels  are  over,  the  morning 
brings  back  its  duties  and  responsibilities  and  "  man 
goeth  forth  unto  his  labour  until  the  evening." 

The  Hall  of  the  Middle  Temple,  where  John  Man- 
ningham  saw  the  play,  is  one  of  the  only  two  buildings 
remaining  in  London  whtsre  we  know  that  any  of  Shake- 
speare's dramas  were  performed  in  his  lifetime ;  the  other 
being  the  Hall  of  Gray's  Inn,  where,  according  to  the 
Gesta  Grayorum,  the  Comedy  of  Errors  was  "  played  by 
the  players  "  in  December,  1594. 

The  Temple  Hall  was  built  in  1572.  It  is  one  hun- 
dred feet  long,  forty-two  feet  wide,  and  forty-seven  feet 
high ;  and  the  roof  is  the  best  specimen  of  Elizabethan 
architecture  in  London.  The  exterior  has  been  modi- 
fied considerably  in  more  recent  times,  but  the  interior 
has  suffered  slight  change  since  Shakespeare's  day. 

Hawthorne,  in  his  English  Note-Books,  gives  the  fol- 
lowing description  of  the  hall :  "  Truly  it  is  a  most 
magnificent  apartment ;  very  lofty,  so  lofty,  indeed,  that 
the  antique  roof  is  quite  hidden,  as  regards  all  its  de- 
tails, in  the  sombre  gloom  that  broods  under  its  rafters. 
The  hall  is  lighted  by  four  great  windows  on  each  of 
the  two  sides,  descending  halfway  from  the  ceiling  to 
the  floor,  leaving  all  beneath  enclosed  by  oaken  panel- 
ling, which  on  three  sides  is  carved  with  escutcheons 
of  such  members  of  the  society  as  have  held  the  office 
of  reader.  There  is  likewise  in  a  large  recess  or  transept 
a  great  window  occupying  the  full  height  of  the  hall  and 


14  Twelfth  Night 

splendidly  emblazoned  with  the  arms  of  the  Templars 
who  have  attained  to  the  dignity  of  Chief-justices.  The 
other  windows  are  pictured,  in  like  manner,  with  coats 
of  arms  of  local  dignities  connected  with  the  Temple ; 
and  besides  all  these  there  are  arched  lights,  high  to- 
wards the  roof,  at  either  end,  full  of  richly  and  chastely 
coloured  glass ;  and  all  the  illumination  that  the  great 
hall  had  came  through  these  glorious  panes,  and  they 
seemed  the  richer  for  the  sombreness  in  which  we  stood. 
I  cannot  describe,  or  even  intimate,  the  effect  of  this 
transparent  glory,  glowing  down  upon  us  in  the  gloomy 
depth  of  the  hall.  The  screen  at  the  lower  end  is  of 
carved  oak  very  dark  and  highly  polished,  and  as  old 
as  Queen  Elizabeth's  time.  ...  I  am  reluctant  to  leave 
this  hall  without  expressing  how  grave,  how  grand,  how 
sombre,  and  how  magnificent  I  felt  it  to  be.  As  re- 
gards historical  associations,  it  was  a  favourite  dancing- 
hall  of  Queen  Elizabeth,  and  Sir  Christopher  Hatton 
danced  himself  into  her  good  graces  there." 

The  feasts  of  Christmas,  Halloween,  Candlemas, 
and  Ascension  were  formerly  celebrated  here  with 
great  magnificence.  A  Master  of  the  Revels  was 
chosen,  and  the  Lord  Chancellor,  Judges,  and  Benchers 
opened  the  sports  by  dancing  thrice  around  the  sea- 
coal  fire :  — 

"  Full  oft  within  the  spacious  walls, 

When  he  had  fifty  winters  o'er  him, 
My  grave  Lord  Keeper  led  the  brawls ; 
The  Seal  and  Maces  danced  before  him." 


Introduction  15 

This  judicial  foolery  was  satirized  by  Buckingham  in 
The  Rehearsal,  by  Prior  in  his  Alma,  and  by  Donne  in 
his  Satires;  and  Pope  has  his  fling  at  it  in  the 

Dunciad ':  — 

"  The  judge  to  dance,  his  brother  Serjeant  calls." 

It  was  in  this  hall  at  dinner-time  that  Mr.  Richard 
Martin,  the  Bencher  to  whom  Ben  Jonson  dedicated  his 
Poetaster,  was  thrashed  by  Sir  John  Davies,  who  for 
this  display  of  unruly  temper  was  expelled  from  the 
society. 

Shakespeare  alludes  to  the  hall  in  i  Henry  IV.  iii. 
3.  223,  where  the  Prince  says  to  Falstaff,  "  Meet  me 
to-morrow  in  the  Temple  Hall  at  two  o'clock  in  the 
afternoon ;  "  and  again  in  i  Henry  VI.  ii.  4.  3,  where 
the  scene  is  laid  in  the  Temple  Gardens,  and  Suffolk 
says  to  Plantagenet :  — 

"  Within  the  Temple  Hall  we  were  too  loud ; 
The  garden  here  is  more  convenient." 

We  see  at  a  glance  that  the  plot  of  Twelfth  Night 
combines  certain  features  of  The  Two  Gentlemen  of 
Verona  and  The  Comedy  of  Errors.  As  in  the  former 
play,  the  heroine,  in  a  foreign  land  and  in  masculine 
disguise,  becomes  the  servant  of  the  man  she  loves, 
who  at  the  time  is  in  love  with  another  woman,  but  is 
not  loved  in  return  and  eventually  reciprocates  the 
affection  of  the  maiden  page ;  and,  as  in  The  Comedy 
of  Errors,  there  is  amusing  confusion  on  account  of  the 


1 6  Twelfth  Night 

resemblance  of  twins  to  each  other.  In  the  passion  of 
Olivia  for  the  disguised  girl  we  have  the  counterpart  of 
the  episode  of  Phebe  and  Rosalind  in  As  You  Like  It ; 
and  in  both  cases  the  lady  gets  a  husband  in  place  of 
the  one  who  can  "  marry  no  woman."  In  AlPs  Well 
Helena  pursues  Bertram,  but  does  not  woo  another  in 
his  name,  though  she  gets  him  in  the  end.  The  ro- 
mantic passion  of  the  Duke  for  Olivia  reminds  us  of 
the  similar  unrequited  fancy  of  Romeo  for  Rosaline ; 
both  of  the  "  first  loves  "  being  forgotten  as  soon  as  the 
destined  mate  appears. 

Certain  minor  "  parallelisms "  are  pointed  out  by 
Furnivall :  "  The  Merchant  of  Venice  gives  us  another 
Antonio  willing  to  give  his  life  for  his  friend  Bassanio, 
just  as  here  in  Twelfth  Night  Antonio  faces  danger,  nay, 
death,  a  pirate's  due,  for  his  love  to  his  friend  Sebas- 
tian. And  to  the  same  Merchant  we  surely  go  for  recol- 
lections of  the  opening  scene  here,  — 

'That  strain  again !  it  had  a  dying  fall ; 
O,  it  came  o'er  my  ear  like  the  sweet  sound 
That  breathes  upon  a  bank  of  violets, 
Stealing  and  giving  odour,'  — 

and  for  a  parallel^,  to  the  Duke's  love  of  music  through 
the  play,  ffenry  SFsgives  us  in  Falstaff  and  his  fol- 
lowers the^eempany  whence  Sir  Toby  Belch  and  Sir 
Andrew  Aguecheek  come,  as  the  Second  Part  of  that 
play  gives  us  Falstaff  playing  on  Justice  Shallow  as  Sir 
Toby  in  Twelfth  Night  plays  on  Sir  Andrew.  Is  not 


Introduction  17 

also  S lender's  echoing  of  Shallow  in  Merry  Wives 
something  like  Sir  Andrew  echoing  all  Sir  Toby's  say- 
ings here,  and  fancying  himself  a  man  for  it  ?  It  is  to 
the  Sonnets  that  we  turn  for  a  parallel  to  Viola's  plead- 
ing with  Olivia  to  marry  the  Duke,  and  not  forbear  to 
leave  a  copy  of  her  beauty  to  the  world,  and  to  the 
Sonnets  to  his  mistress  for  Shakspere's  love  of  music  ; 
while  to  match  Viola's  entire  devotion  even  to  death  to 
the  Duke's  most  unjust  will  we  must  look  forward,  even 
past  the  Sonnets,  to  the  true  and  loving  Imogen's  will- 
ingness to  die  in  obedience  to  her  deceived  and  head- 
strong husband's  iniquitous  sentence  of  death  on  her 
(Cymb.  iii.  4.  65-79)." 

I  cannot  better  close  these  preliminary  comments 
than  with  a  portion  of  Verplanck's  introduction  to  the 
play :  l  — 

"  We  may  safely  fix  the  date  of  this  comedy  about 
the  year  1600  or  1601,  and  class  it  among  the  later  pro- 
ductions of  that  period  of  Shakespeare's  life  when  his 
mind  most  habitually  revelled  in  humorous  delineation, 
while  his  luxuriant  fancy,  turning  aside  from  the  sterner 

l  The  Illustrated  Shakespeare,  edited  by  G.  C.  Verpianck  (New  York, 
1847),  vol.  ii,  page  6  of  Twelfth  Night.  I  am  the  more  inclined  to 
quote  from  this  edition  because  it  has  now  been  out  of  print  for  fifty 
years,  having  been  entirely  destroyed  (together  with  nearly  all  the 
stereotype  plates)  in  the  fire  at  the  Harper  establishment  in  1853.  It 
was  the  first  critical  and  thoroughly  annotated  edition  of  Shakespeare 
published  in  this  country,  and  is  still  one  of  the  best  of  its  class,  Amer- 
ican or  English.  Copies  of  it  are  rare  in  the  public  libraries,  and  are 
seldom  offered  for  sale. 

TWELFTH  NIGHT  —  2 


1 8  Twelfth  Night 

and  painful  passions,  sheds  its  gayest  tints  over  in- 
numerable forms  of  grace  and  beauty.  He  seems,  by 
his  title  of  the  Twelfth  Night,  to  apprise  his  audience 
of  the  general  character  of  this  agreeable  and  varied 
comedy  —  a  notice  intelligible  enough  at  that  time,  and 
still  not  without  its  significance  in  a  great  part  of 
Europe,  though  quite  otherwise  among  our  un-holid ay- 
keeping  people  on  this  side  of  the  Atlantic.  Twelfth 
Night  was,  in  the  olden  times,  the  season  of  universal 
^/festivity  —  of  masques,  pageants,  feasts,  and  tradi- 
tionary sports.  This  comedy  then  would  not  disap- 
point public  expectation,  when  it  was  found  to  contain 
a  delightful  combination  of  the  delicate  fancy  and  ro- 
mantic sentiment  of  the  poetic  masque,  with  a  crowd  of 
revelling,  laughing,  or  laugh-creating  personages,  whose 
truth  all  would  recognize,  and  whose  spirit  and  fun  no 
gravity  could  resist.  He  gave  to  these  the  revelling 
spirit,  and  the  exaggeration  of  character  necessary  for 
the  broadest  comic  effect,  but  still  kept  them  from 
becoming  mere  buffoon  masquers  by  a  truth  of  por- 
traiture which  shows  them  all  to  be  drawn  from  real 
life.  Malvolio  —  the  matchless  Malvolio  —  was  not 
only  new  in  his  day  to  comic  delineation  of  any  sort, 
but  I  believe  has  never  since  had  his  fellow  or  his  copy 
in  any  succeeding  play,  poem,  essay,  or  novel.  The 
gravity,  the  acquirement,  the  real  talent,  and  accom- 
plishment of  the  man,  all  made  ludicrous,  fantastical, 
and  absurd  by  his  intense  vanity,  is  as  true  a  conception 
as  it  is  original  and  droll,  and  its  truth  may  still  be 


Introduction  19 

frequently  attested  by  actual  comparison  with  real 
Malvolios,  to  be  found  everywhere,  from  humble  do- 
mestic life  up  to  the  high  places  of  learning,  of  the 
State,  and  even  of  the  Church.  Sir  Toby  certainly 
comes  out  of  the  same  associations  where  the  poet  saw 
Falstaff  hold  his  revels.  He  is  not  Sir  John,  nor  a 
fainter  sketch  of  him,  yet  with  an  odd  sort  of  family 
likeness  to  him.  Dryden  and  other  dramatists  have  fe- 
licitated themselves  upon  success  in  grouping  together 
their  comic  underplots  with  their  more  heroic  per- 
sonages. But  here  all,  grave  and  gay,  the  lovers,  the 
laughers,  and  the  laughed-at,  are  made  to  harmonize  in 
one  scene  and  one  common  purpose.  I  cannot  help 
adding  —  though  perhaps  it  maybe  a  capricious  over- 
refinement —  that  to  my  mind  this  comedy  resembles 
Macbeth,  in  one  of  the  marked  characteristics  of  that 
great  drama ;  appearing,  like  it,  to  have  been  struck 
out  at  a  heat,  as  if  the  whole  plot,  its  characters  and 
dialogue,  had  presented  themselves  at  once,  in  one 
harmonious  group,  before  the  '  mind's  eye  '  of  the  poet, 
previous  to  his  actually  commencing  the  formal  busi- 
ness of  writing,  and  bearing  no  indication  either  of  an 
original  groundwork  of  incident,  afterwards  enriched 
by  the  additions  of  a  fuller  mind,  or  of  thoughts,  situa- 
tions, and  characters  accidentally  suggested,  or  growing 
unexpectedly  out  of  the  story  as  the  author  proceeded." 


PROPERTY  OF 

DEPABTMFBT  OF  OR8MATIP  ADT 


PROPERTY  OF 
DEPARTMENT  OF  DRAMATIC  ART 


TWELFTH    NIGHT; 

OR, 

WHAT    YOU    WILL 


DRAMATIS  PERSONS 

ORSINO,  Duke  of  Illyria. 

SEBASTIAN,  brother  to  Viola. 

ANTONIO,  a  sea  captain,  friend  to  Sebastian. 

A  Sea  Captain,  friend  to  Viola. 

CuR?oNTINE'  (  §entlemen  attending  on  the  Duke. 
SIR  TOBY  BELCH,  uncle  to  Olivia. 
XSiR  ANDREW  AGUECHEEK. 
MALVOLIO,  steward  to  Olivia. 

FEsT'a  Clown,  j  savants  to  Olivia. 
XOLIVIA. 
VIOLA. 
MARIA,  Olivia's  woman. 

Lords,  Priests,  Sailors,  Officers,  Musicians, 
,  and  other  Attendants. 

SCENE:  A  city  in  Illyria,  and  the  sea-coast 
near  it. 


22 


PROPERTY  OF 
DEPARTO 


SFALATRO 


ACT   I 

SCENE  I.     The  Duke's  Palace 

Enter  DUKE,  CURIO,  and  other  Lords  ;  Musicians 
attending 

Duke.    If  music  be  the  food  of  love,  play  on ; 
Give  me  excess  of  it,  that,  surfeiting, 
The  appetite  may  sicken  and  so  die. 
That  strain  again  !  it  had  a  dying  fall ; 
O,  it  came  o'er  my  ear  like  the  sweet  sound 
That  breathes  upon  a  bank  of  violets, 
Stealing  and  giving  odour  !     Enough ;  no  more  ! 
'T  is  not  so  sweet  now  as  it  was  before.  — 
O  spirit  of  love,  how  quick  and  fresh  art  thou, 
That,  notwithstanding  thy  capacity 
Receiveth  as  the  sea,  nought  enters  there, 
Of  what  validity  and  pitch  soe'er, 

23 


24  Twelfth  Night  [Act  I 

But  falls  into  abatement  and  low  price, 
Even  in  a  minute  1     So  full  of  shapes  is  fancy 
That  it  alone  is  high  fantastical. 

Curio.   Will  you  go  hunt,  my  lord  ? 

Duke.  What,  Curio  ? 

Curio.    The  hart. 

Duke.   Why,  so  I  do,  the  noblest  that  I  have. 
O,  when  mine  eyes  did  see  Olivia  first, 
Methought  she  purg'd  the  air  of  pestilence  1  20 

That  instant  was  I  turn'd  into  a  hart ; 
And  my  desires,  like  fell  and  cruel  hounds, 
E'er  since  pursue  me.  — 

Enter  VALENTINE 

How  now !  what  news  from  her  ? 

Valentine.   So  please  my  lord,  I  might  not  be  admitted, 
But  from  her  handmaid  do  return  this  answer : 
The  element  itself,  till  seven  years'  heat, 
Shall  not  behold  her  face  at  ample  view, 
But,  like  a  cloistress,  she  will  veiled  walk 
And  water  once  a  day  her  chamber  round 
With  eye-offending  brine  ;  all  this  to  season  30 

A  brother's  dead  love,  which  she  would  keep  fresh 
And  lasting  in  her  sad  remembrance. 

Duke.    O,  she  that  hath  a  heart  of  that  fine  frame  ' 
To  pay  this  debt  of  love  but  to  a  brother, ./ ' 
Howl/will  she  love  when  the  rich  golden  shaft  1 0 
Hath  kill'd  the  flock  of  all  affections  else 
That  live  in  her ;  when  liver,  brain,  and  heart,  ;  o 


Scene  II]  Twelfth  Night  25 

These  sovereign  thrones,  are  all  supplied  and  fill'd  — 1& 
Her  sweet  perfection  —  with  one  self  king !  tf 
Away  before  me  to  sweet  beds  of  flowers !  i  >  40 

Love-thoughts  lie  rich  when  canopied  with  bowers. ^ 

\Exeunt  ^ 
SCENE  II.     The  Sea-coast 

Enter  VIOLA,  a  Captain,  and  Sailors 

Viola.    What  country,  friends,  is  this  ? 

Captain.    This  is  Illyria,  lady. 

Viola.    And  what  should  I  do  in  Illyria? 
My  brother  he  is  in  Elysium. 
Perchance  he  is  not  drown'd  ;  what  think  you,  sailors  ? 

Captain.    It  is  perchance  that  you  yourself  were  sav'd. 

Viola.   O  my  poor  brother !  and  so  perchance  may 
he  be. 

Captain.    True,  madam ;  and,  to   comfort   you   with 

chance, 

Assure  yourself,  after  our  ship  did  split, 
When  you  and  thc&e  poor  number  sav'd  with  you    :     10 
Hung  on  our  driving  boat,  I  saw  your  brother, 
Most  provident  in  peril,  bind  himself, 
Courage  and  hope  both  teaching  him  the  practice, 
To  a  strong  mast  that  liv'd  upon  the  sea, 
Where,  likfe  Arion  on  the  dolphin's  back, 
I  saw  him  hoicTacquaintance  with  the  waves 
So  long  as  I  could  see. 

Viola.    For  saying  so  there  's  gold. 
Mine  own  escape  unfoldeth  to  my  hope, 


26  Twelfth   Night  [Acti 

Whereto  thy  speech  serves  for  authority,  20 

The  like  of  him.     Know'st  thou  this  country  ? 

Captain.    Ay,  madam,  well ;  for  I  was  bred  and  born 
Not  three  hours'  travel  from  this  very  place. 

Viola.    Who  governs  here  ? 

Captain.    A  noble  duke,  in  nature  as  in  name. 

Viola.   What  is  his  name  ? 

Captain.    Orsino. 

Viola.    Orsino  !  I  have  heard  my  father  name  him  ; 
He  was  a  bachelor  then. 

Captain.    And  so  is  now,  or  was  so  very  late  ;  30 

For  but  a  month  ago  I  went  from  hence, 
And  then  't  was  fresh  in  murmur  —  as,  you  know, 
\Vhat  great  ones  do^he  less  will  prattle  of  — 
That  he  did  seek  the  love  of  fair  Olivia. 

Viola.    What  's  she  ? 

Captain.    A  virtuous  maid,  the  daughter  of  a  count 
That  died  some  twelvemonth  since,  then  leaving  her 
In  the  protection  of  his  son,  her  brother, 
Who  shortly  also  died ;  for  whose  dear  love, 
They  say,  she  hath  abjur'd  the  company  40 

And  sight  of  men. 

Viola.  O  that  I  serv'd  that  lady, 

And  might  not  be  deliver'd  to  the  world, 
Till  I  had  made  mine  own  occasion  mellow, 
What  my  estate  is  ! 

Captain.  That  were  hard  to  compass, 

Because  she  will  admit  no  kind  of  suit, 
No,  not  the  duke's. 


Scene  III]  Twelfth    Night  27 

Viola.   There  is  a  fair  behaviour  in  thee,  captain ; 
And  though  that  nature  with  a  beauteous  wall 
Doth  oft  close  in  pollution,  yet  of  thee  - 
I  will  believe  thou  hast  a  mind  that  suits  50 

With  this  thy  fair  and  outward  character. 
I  prithee,  —  and  I  '11  pay  thee  bounteously,  —  • 
Conceal  me  what  I  am,  and  be  my  aid 
For  such  disguise  as  haply  shall  become  - 
The  form  of  my  intent.     I  '11  serve  this  duke ; 
Thou  shalt  present  me  as  an  eunuch  to  him. 
It  may  be  worth  thy  pains  ;  for  I  can  sing 
And  speak  to  him  in  many  sorts  of  music 
That  will  allow  me  very  worth  his  service. 

/hat  else  may  hap  to  time  I  will  commit ;  60 

Only  shape  thou  thy  silence  to  my  wit. 

Captain.    Be  you  his  eunuch,  and  your  mute  I  '11  be ; 
When  my  tongue  blabs,  then  let  mine  eyes  not  see. 

Viola.    I  thank  thee  ;  lead  me  on.  [Exeunt. 

SCENE  III.     Olivia's  House 
Enter  SIR  TOBY  BELCH  and  MARIA 

Sir  Toby.  What  a  plague  means  my  niece,  to  take 
the  death  of  her  brother  thus  ?  I  am  sure  care  's  an 
enemy  to  life* 

Maria.  By  my  troth,  Sir  Toby,  you  must  come  in 
earlier  o'  nights ;  your  cousin,  my  lady,  takes  great 
exceptions  to  your  ill  hours. 

Sir  Toby.    Why,  let  her  except  before  excepted. 


28  Twelfth  Night  [Act  I 

Maria.  Ay,  but  you  must  confine  yourself  within 
the  modest  limits  of  order. 

Sir  Toby.    Confine  !     I  '11  confine  myself  no  finer  10 
than  I  am.     These  clothes  are  good  enough  to  drink 
in,  and  so  be  these  boots  too ;  an  they  be  not,  let 
them  hang  themselves  in  their  own  straps. 

Maria.  That  quaffing  and  drinking  will  undo  you  ; 
I  heard  my  lady  talk  of  it  yesterday,  and  of  a  foolish 
knight  that  you  brought  in  one  night  here  to  be  her 
wooer. 

Sir  Toby.   Who,  Sir  Andrew  Aguecheek  ? 

Maria.    Ay,  he. 

Sir  Toby.    He  's  as  tall  a  man  as  any  's  in  Illyria.    20 

Maria.   What  's  that  to  the  purpose  ? 

Sir  Toby.  Why,  he  has  three  thousand  ducats  a 
year. 

Maria.  Ay,  but  he  '11  have  but  a  year  in  all  these 
ducats ;  he  's  a. very  fool  and  a  prodigal. 

Sir  Toby.  Fie,  that  you  '11  say  so  !  he  plays  o'  the 
viol-de-gamboys,  and  speaks  three  or  four  languages 
word  for  word  without  book,  and  hath  all  the  good 
gifts  of  nature. 

Maria.    He  hath    indeed,  all   most   natural ;    for  30 
besides  that  he  's  a  fool,  he  's  a  great  quarreller, 
and  but  that  he  hath  the  gift  of  a  coward  tp  allay  the 
gust  he  hath  in  quarrelling,  't  is  thought  among  the 
prudent  he  would  quickly  have  the  gift  of  a  grave. 

Sir  Toby.  By  this  hand,  they  are  scoundrels  and 
substractors  that  say  so  of  him.  Who  are  they  ? 


Scene  III]  Twelfth    Night  29 

Maria.    They   that   add,   moreover,  he    's    drunk        . 
nightly  in  your  company. 

Sir  Toby.  With  drinking  healths  to  my  niece ; 
I  '11  drink  to  her  as  long  as  there  is  a  passage  in  40 
my  throat  and  drink  in  Illyria.  He  's  a  coward  and 
a  coystril  that  will  not  drink  to  my  niece  till  his 
brains  turn  o'  the  toe  like  a  parish-top.  What, 
wench !  —  Castilianp  vulgo  1  for  here  comes 
Andrew  Agueface. 

Enter  SIR  ANDREW  AGUECHEEK 

Sir  Andrew.    Sir  Toby  Belch  1  how  now,  Sir  Toby 
Belch ! 

Sir  Toby.    Sweet  Sir  Andrew ! 

Sir  Andrew.    Bless  you,  fair  shrew ! 

Maria.    And  you  too,  sir.  50 

Sir  Toby.    Accost,  Sir  Andrew,  accost. 

Sir  Andrew.    What  's  that  ? 

Sir  Toby.    My  niece's  chambermaid. 

Sir  Andrew.   Good  Mistress  Accost,  I  desire  bet- 
ter acquaintance. 

Maria.    My  name  is  Mary,  sir. 

Sir  Andrew.    Good  Mistress  Mary  Accost,  — 

Sir  Toby.    You    mistake,  knight ;    accost  is  front 
her,  board  her,  woo  her,  assail  her. 

Sir  Andrew.    By  my  troth,  I  would  not  undertake  60 
her  in  this  company.     Is  that  the  meaning  of  accost  ? 

Maria.    Fare  you  well,  gentlemen. 

Sir  Toby.   An  thou  let  part  so,  Sir  Andrew,  would 
thou  mights t  never  draw  sword  again  1 


30  Twelfth  Night  [Acti 

Sir  Andrew.  An  you  part  so,  mistress,  I  would  I 
might  never  draw  sword  again !  Fair  lady,  do 
you  think  you  have  fools  in  hand  ? 

Maria.    Sir,  I  have  not  you  by  the  hand. 

Sir  Andrew.  Marry,  but  you  shall  have ;  an$ 
here  's  my  hand.  70 

Maria.  Now,  sir,  thought  is  free ;  I  pray  you, 
bring  your  hand  to  the  buttery-bar  and  let  it  drink. 

Sir  Andrew.  Wherefore,  sweet-heart  ?  what's  your 
metaphor  ? 

Maria.    It  's  dry,  sir. 

Sir  Andrew.  Why,  I  think  so ;  I  am  not  such  an 
ass  but  I  can  keep  my  hand  dry.  But  what  's  your 
jest? 

Maria.    A  dry  jest,  sir. 

Sir  Andrew.    Are  you  full  of  them  ?  80 

Maria.  Ay,  sir,  I  have  them  at  my  fingers'  ends", 
marry,  now  I  let  go  your  hand,  I  am  barren.  \Exitf 

Sir  Toby.  O  knight,  thou  lackest  a  cup  of  canary ! 
when  did  I  see  thee  so  put  down  ? 

Sir  Andrew.    Never  in  your  life,  I  think ;  unless 
you  see  canary  put  me  down.     Methinks  sometimes  ^' 
I  have  no  more  wit  than  a  Christian  or  an  ordinary 
man  has  ;  but  I  am  a  great  eater  of  beef,  and  I  be- ' 
lieve  that  does  harm  to  my  wit. 

Sir  Toby.    No  question.  90 

Sir  Andrew.  An  I  thought  that,  I'd  forswear  it. 
I  '11  ride  home  to-morrow,  Sir  Toby. 

Sir  Toby,    Pourquoi,  my  dear  knight? 


Scene  III]  Twelfth    Night  31 

Sir  Andrew.    What  is  pourquoi  ?  do  or  not  do  ?     I  ^ 
would  I  had  bestowed  that  time  in  the  tongues  that 
I  have  in  fencing,  dancing,  and  bear-baiting !     O,  ^ 
had  I  but  followed  the  arts ! 

Sir  Toby.    Then  hadst  thou  had  an  excellent  head  ^ 
of  hair. 

Sir  Andrew.    Why,  would  that  have  mended  my  100 
hair  ? 

Sir  Toby.    Past  question  ;    for  thou  seest   it  will  f 
not  curl  by  nature. 

Sir  Andrew.    But   it   becomes    me   well   enough,  t"-~ 
does  't  not  ? 

Sir  Toby.  Excellent ;  it  hangs  like  flax  on  a  dis- 
taff, and  I  hope  to  see  a  housewife  take  thee  and 
spin  it  off. 

Sir  Andrew.     Faith,    I   '11    home   to-morrow,    Sir 
Toby.    Your  niece  will  not  be  seen,  or  if  she  be,  it 's  no 
four  to  one  she  '11  none  of  me ;  the  count  himself 
here  hard  by  wooes  her. 

Sir  Toby.    She  '11  none  o'  the  count.     She  '11  not 
match  above  her  degree,  neither  in  estate,  years,  nor 
wit ;  I  have  heard   her   swear  't.     Tut,  there  's   life   ' 
in  't,  man. 

Sir  Andrew.  -II  '11  stay  a  month  longer.     I  am  a  * 
fellow  o'  the  strangest  mind  i'  the  world ;  I  delight 
in  masques  and  revels  sometimes  altogether. 

Sir  Toby.    Art  tho,u   good   at  these  kickshawses,  120 
knight  ? 

Sir  Andrew.    As  any  man    in  Illyria,  whatsoever 


32  Twelfth  Night  [Acti 

he  be,  under  the  degree  of  my  betters ;  and  yet  I 
will  not  compare  with  an  old  man. 

Sir  Toby.  What  is  thy  excellence  in  a  galliard, 
knight? 

Sir  Andrew.    Faith,  I  can  cut  a  caper. 

Sir  Toby.   And  I  can  cut  the  mutton  to  't. 

Sir  Andrew.    And  I  think  I  have  the  back-trick    y 
simply  as  strong  as  any  man  in  Illyria.  ijo 

Sir  Toby.  Wherefore  are  these  things  hid  ?  where- 
fore have  these  gifts  a  curtain  before  'em  ?  are  they 
like  to  take  dust,  like  Mistress  Mall's  picture  ?  why 
dost  thou  not  go  to  church  in  a  galliard  and  come 
home  in  a  coranto  ?  My  very  walk  should  be  a  jig. 
What  dost  thou  mean  ?  Is  it  a  world  to  hide  virtues 
in  ?  I  did  think,  by  the  excellent  constitution  of  thy 
leg,  it  was  formed  under  the  star  of  a  galliard. 

Sir  Andrew.    Ay,  't  is  strong,  and   it  does  indif-  ' 
ferent  well  in  a  flame-coloured  stock.     Shall  we  set  140 
about  some  revels  ? 

Sir  Toby.  What  shall  we  do  else  ?  were  we  not 
born  under  Taurus  ? 

Sir  Andrew.    Taurus  !     That 's  sides  and  heart. 

Sir  Toby.  No,  sir ;  it  is  legs  and  thighs.  "Let  me 
see  thee  caper.  Hal  higher!  ha,  ha!  excellent!  / 

\Eoceuiit. 
SCENE  IV.     The  Duke's  Palace 

Enter  VALENTINE  and  VIOLA  in  man's  attire 
Valentine.    If    the    duke    continue   these   favours 
towards   you,    Cesario,   you    are    like    to   be    much 


Scene  IV]  Twelfth    Night  33 

advanced ;  he  hath  known  you  but  three  days,  and 
already  you  are  no  stranger. 

Viola.  You  either  fear  his  humour  or  my  negli- 
gence, that  you  call  in  question  the  continuance  of 
his  love.  Is  he  inconstant,  sir,  in  his  favours  ? 

Valentine.   No,  believe  me. 

Viola,    I  thank  you.     Here  comes  the  count. 

Enter  DUKE,  CURIO,  and  Attendants 

Duke.   Who  saw  Cesario,  ho  ?  10 

Viola.    On  your  attendance,  my  lord  ;  here. 

Duke.    Stand  you  awhile  aloof.  —  Cesario, 
Thou  know'st  no  less  but  all ;  I  have  unclasp'd 
To  thee  the  book  even  of  my  secret  soul.  ^ 
Therefore,  good  youth,  address  thy  gait  unto  her ; 
Be  not  denied  access,  stand  at  her  doors, 
And  tell  them,  there  thy  fixed  foot  shall  grow  - 
Till  thou  have  audience. 

Viola.  Sure,  my  noble  lord, 

If  she  be  so  abandon 'd  to  her  sorrow 
As  it  is  spoke,  she  never  will  admit  me.  20 

Duke.    Be  clamorous  and  leap  all  civil  bounds 
Rather  than  make  unprofited  return. 

Viola.    Say  I  do  speak  with  her,  my  lord,  what  then  ?* 

Duke.    O,  then  unfold  the  passion  of  my  love, 
Surprise  her  with  discourse  of  my  dear  faith. 
It  shall  become  thee  well  to  act  my  woes  ;   ^ 
She  will  attend  it  better  in  thy  youth 
Than  in  a  nuncio  of  more  grave  aspect. 

TWELFTH  NIGHT — $ 


34  Twelfth   Night  [Act  I 

Viola.    I  think  not  so,  my  lord. 

Duke.  Dear  lad,  believe  it, 

x   For  they  shall  yet  belie  thy  happy  years  i-  30 

That  say  thou  art  a  man.     Diana's  lip 
Is  not  more  smooth  and  rubious ;  thy  small  pipe 
Is  as  the  maiden's  organ,  shrill  and  sound, 
And  all  is  semblative  a  woman's  part. 
I  know  thy  constellation  is  right  apt 
For  this  affair.  —  Some  four  or  five  attend  him ; 
All,  if  you  will,  for  I  myself  am  best 
When  least  in  company.  —  Prosper  well  in  this, 
And  thou  shalt  live  as  freely  as  thy  lord, 
To  call  his  fortunes  thine. 

Viola.  I  '11  do  my  best  40 

To  woo  your  lady.  —  \Aside\  Yet,  a  barf ul  strife  ! 
Whoe'er  I  woo,  myself  would  be  his  wife.    )      [Exeunt.  / 

SCENE  V.  <  Olivia  V  House 
Enter  MARIA  and  Clown 

Maria.  Nay,  either  tell  me  where  thou  hast  been, 
or  I  will  not  open  my  lips  so  wide  as  a  bristle  may 
enter  in  way  of  thy  excuse.  My  lady  will  hang  thee 
for  thy  absence. 

Clown.  Let  her  hang  me  ;  he  that  is  well  hanged 
in  this  world  needs  to  fear  no  colours. 

Maria.    Make  that  good. 

Clown.    He  shall  see  none  to  fear.     . 

Maria.  A  good  le'nten  answer.  I  can  tell  thee 
where  that  saying  was  born,  of  '  I  fear  no  colours.'  10 


Scene  V]  Twelfth    Night  35 

Clown.    Where,  good  Mistress  Mary  ? 

Maria.  In  the  wars  ;  and  that  may  you  be  bold  to 
say  in  your  foolery. 

Clown.  Well,  God  give  them  wisdom  that  have  it ; 
and  those  that  are  fools,  let  them  use  their  talents. 

Maria.  Yet  you  will  be  hanged  for  being  so  long 
absent ;  or,  to  be  turned  away,  is  not  that  as  good  as 
a  hanging  to  you  ? 

Clown.    Many  a   good    hanging   prevents   a   bad 
marriage ;  and,  for  turning  away,  let  summer  bear  it  20 
out. 

Maria.    You  are  resolute,  then  ? 

Clown.  Not  so,  neither  ;  but  I  am  resolved  on  two 
points. 

Maria.  That  if  one  break,  the  other  will  hold  ;  or, 
if  both  break,  your  gaskins  fall. 

Clown.    Apt,  in  good  faith ;  very  apt.     Well,  go  f 
thy  way  ;  if  Sir  Toby  would  leave  drinking,  thou  wert 
as  witty  a  piece  of  Eve's  flesh  as  any  in  Illyria* 

Maria.    Peace,  you  rogue,  no  more  o'  that.     Here  30 
comes  my  lady ;  make  your  excuse  wisely,  you  were 
best.  [Exit. 

Clown.    Wit,  an  't  be  thy  will,  put  me  into  good 
fooling  !     Those  wits  that  think  they  have  thee  do 
very  oft  prove  fools,  and  I,  that  am  sure  I  lack  thee,    ^ 
may  pass  for  a  wise  man  ;  for  what  says  Quinapalus  ? 
'  Better  a  witty  fool  than  a  foolish  wit,'  — 


3 6  Twelfth   Night  [Act  I 

Enter  Lady  OLIVIA  with  MALVOLIO 
God  bless  thee,  lady  1 

Olivia.   Take  the  fool  away. 

Clown.   Do  you  not  hear,  fellows?     Take  away  40 
the  lady. 

Olivia.   Go  to,  you  're  a  dry  fool ;  I  '11  no  more  of 
you.     Besides,  you  grow  dishonest. 

Clown.  Two  faults,  madonna,  that  drink  and  good 
counsel  will  amend  ;  for  give  the  dry  fool  drink,  then 
is  the  fool  not  dry.  Bid  the  dishonest  man  mend 
~  himself,  if  he  mend  he  is  no  longer  dishonest ;  if  he 
,  cannot,  let  the  botcher  mend  him.  Any  thing  that 's 
mended  is  but  patched ;  virtue  that  transgresses  is 
but  patched  with  sin,  and  sin  that  amends  is  but  50 
patched  with  virtue.  If  that  this  simple  syllogism 
will  serve,  so  ;  if  it  will  not,  what  remedy  ?  As  there 
is  no  true  cuckold  but  calamity,  so  beauty  's  a  flower. 
The  lady  bade  take  away  the  fool ;  therefore,  I  say 
again,  take  her  away. 

Olivia.    Sir,  I  bade  them  take  away  you. 
\    Clown.   Misprision  in  the  highest  degree !     Lady, 
*)  cucullus  non  facit  monachum  ;  that 's  as  much  to  say 
ras  I  wear  not  motley  in  my  brain.     Good  madonna, 
give  me  leave  to  prove  you  a  fool.  60 

Olivia.    Can  you  do  it  ? 

Clown.   Dexteriously,  good  madonna. 

Olivia.   Make  your  proof. 

Clown.    I   must  catechise  you   for   it,  madonna; 
good  my  mouse  of  virtue,  answer  me. 


Scene  VJ  Twelfth    Night  37 

Olivia.  Well,  sir,  for  want  of  other  idleness,  I  '11 
bide  your  proof. 

Clown.    Good  madonna,  why  mournest  thou  ? 

Olivia.   Good  fool,  for  my  brother's  death. 

Clown.   I  think  his  soul  is  in -hell,  madonna.  70 

Olivia.    I  know  his  soul  is  in  heaven,  fool. 

Clown.  The  more  fool,  madonna,  to  mourn  for 
your  brother's  soul  being  in  heaven.  —  Take  away 
the  fool,  gentlemen. 

Olivia.  What  think  you  of  this  fool,  Malvolio  ? 
doth  he  not  mend  ? 

Malvolio.  Yes,  and  shall  do  till  the  pangs  of  death 
shake  him  ;  infirmity,  that  decays  the  wise,  doth  ever 
make  the  better  fool. 

Clown.   God  send  you,  sir,  a  speedy  infirmity,  for  80 
the  better  increasing  your  folly !     Sir  Toby  will  be 
sworn  that  I  am  no  fox ;  but  he  will  not  pass  his 
word  for  twopence  that  you  are  no  fool. 

Olivia.    How  say  you  to  that,  Malvolio  ? 

Malvolio.  I  marvel  your  ladyship  takes  delight  in 
such  a  barren  rascal;  I  saw  him  put  down  the  other 
day  with  an  ordinary  fool  that  has  no  more  brain 
than  a  stone.  Look  you  now,  he  's  out  of  his  guard 
already ;  unless  you  laugh  and  minister  occasion  to 
him,  he  is  gagged.  I  protest,  I  take  these  wise  men  9o 
that  crow  so  at  these  set  kind  of  fools  no  better  than 
the  fools'  zanies. 

Olivia.  O,  you  are  sick  of  self-love,  Malvolio,  and 
taste  with  a  distempered  appetite.  To  be  generous, 


3  8  Twelfth  Night  [Act  I 

guiltless,  and  of  free  disposition,  is  to  take  those 
things  for  bird-bolts  that  you  deem  cannon-bullets. 
There  is  no  slander  in  an  allowed  fool,  though  he  do 
nothing  but  rail ;  nor  no  railing  in  a  known  discreet 
man,  though  he  do  nothing  but  reprove.  /  -  ../^ 

Clown.    Now  Mercury  endue  thee  with  leasing,  for  100 
thou  speakest  well  of  fools  !  f 

Re-enter  MARIA 

Maria.    Madam,  there  is  at  the  gate  a  young  gen- 
tleman much  desires  to  speak  with  you. 

Olivia.    From  the  Count  Orsino,  is  it  ? 

Maria.    I  know  not,  madam  ;   't  is  a  fair  young  ^ 
man,  and  well  attended. 

Olivia.   Who  of  my  people  hold  him  in  delay  ? 

Maria.    Sir  Toby,  madam,  your  kinsman. 

Olivia.  Fetch  him  off,  I  pray  you,  he  speaks  noth- 
ing but  madman  ;  fie  on  him  !  —  [Exit  Maria. ,]  Go  no 
you,  Malvolio.  If  it  be  a  suit  from  the  count,  I  am 
sick,  or  not  at  home  ;  what  you  will,  to  dismiss  it.  — 
\Exit  Malvolio '.]  Now  you  see,  sir,  how  your  fooling 
grows  old,  and  people  dislike  it. 

Clown.  Thou  hast  spoke  for  us,  madonna,  as  if  A 
thy  eldest  son  should  be  a  fool ;  whose  skull  Jove  £ 
cram  with  brains  !  for  —  here  he  comes  —  one  of  thy  / 
kin  has  a  most  weak  pia  mater.  / 

Enter  SIR  TOBY 

Olivia.    By  mine  honour,  half  drunk.  —  What  is 
he  at  the  gate,  cousin  ?  120 


Scene  V]  Twelfth    Night  39 

Sir  Toby.   A  gentleman. 

Olivia.    A  gentleman  !  what  gentleman  ? 

Sir  Toby.    'T  is  a  gentleman  here  —  a  plague  o'  *^- 
these  pickle-herring !  —  How  now,  sot !     5^*** 

Clown.    Good  Sir  Toby  ! 

Olivia.  Cousin,  cousin,  how  have  you  come  so 
early  by  this  lethargy  ? 

Sir  Toby.  Lechery  !  I  defy  lechery.  There  's  one 
at  the  gate. 

Olivia.    Ay,  marry,  what  is  he  ?  130 

Sir  Toby.  Let  him  be  the  devil,  an  he  will,  I  care 
not ;  give  me  faith,  say  I.  Well,  it 's  all  one.  [Exit. 

Olivia.    What 's  a  drunken  man  like,  fool  ? 

Clown.  Like  a  drowned  man,  a  fool,  and  a  mad- 
man :  one  draught  above  heat  makes  him  a  fool ;  the 
second  mads  him  ;  and  a  third  drowns  him. 

Olivia.  Go  thou  and  seek  the  crowner,  and  let 
him  sit  o'  my  coz,  for  he  's  in  the  third  degree  of 
drink,  he  's  drowned  ;  go,  look  after  him. 

Clown.    He  is  but  mad  yet,  madonna ;  and   the  140 
fool  shall  look  to  the  madman.  \ 

Re-enter  MALVOLIO 

Malvolio.  Madam,  yond  young  fellow  swears  he 
will  speak  with  you.  I  told  him  you  were  sick ;  he 
takes  on  him  to  understand  so  much,  and  therefore 
comes  to  speak  with  you.  I  told  him  you  were 
asleep ;  he  seems  to  have  a  foreknowledge  of  that 
too,  and  therefore  comes  to  speak  with  you.  What 


40  Twelfth  Night  [Act  i 

is  to  be  said  to  him,  lady  ?  he  's  fortified  against  any 
denial. 

Olivia.    Tell  him  he  shall  not  speak  with  me.        .  150 

Malvofto.  He  has  been  told  so  ;  and  he  says,  he  '11 
stand  at  your  door  like  a  sheriff's  post,  and  be  the 
supporter  to  a  bench,  but  he  '11  speak  with  you. 

Olivia.   What  kind  o'  man  is  he  ? 

Malvolio.    Why,  of  mankind. 

Olivia.    What  manner  of  man  ? 

Malvolio.  Of  very  ill  manner ;  he  '11  speak  with 
you,  will  you  or  no. 

Olivia.    Of  what  personage  and  years  is  he  ? 

Malvolio.  Not  yet  old  enough  for  a  man,  nor  160  v' 
young  enough  for  a  boy,  as  a  squash  is  before  't  is 
a  peascod,  or  a  codling  when  't  is  almost  an  apple ; 
't  is  with  him  in  standing  water,  between  boy  and 
man.  He  is  very  well-favoured  and  he  speaks  very 
shrewish ly ;  one  would  think  his  mother's  milk  were 
scarce  out  of  him. 

Olivia.  Let  him  approach ;  call  in  my  gentle- 
woman. 

Malvolio.    Gentlewoman,  my  lady  calls.  [Exit. 

Re-enter  MARIA 

Olivia.    Give  me  my  veil ;  come,  throw  it  o'er  my  face. 
We  '11  once  more  hear  Orsino's  embassy.  171 

Enter  VIOLA,  and  Attendants 
Viola.    The  honourable  lady  of  the  house,  which 
is  she  ? 


Scene  V]  Twelfth    Night  41 

Olivia.  Speak  to  me ;  I  shall  answer  for  her. 
Your  will  ? 

Viola.    Most  radiant,  exquisite,  and  unmatchable 
beauty,  —  I  pray  you,  tell  me  if  this  be  the  lady  of  " 
the  house,  for  I  never  saw  her ;  I  would  be  loath  to 
cast  away  my  speech,  for  besides  that  it  is  excellently 
well  penned,  I  have  taken  great  pains  to  con  it.  180 
Good  beauties,  let  me  sustain  no  scorn ;  I  am  very 
comptible,  even  to  the  least  sinister  usage. 

Olivia.    Whence  came  you,  sir  ? 

Viola.  I  can  say  little  more  than  I  have  studied, 
and  that  question  's  out  of  my  part.  Good  gentle 
one,  give  me  modest  assurance  if  you  be  the  lady  of 
the  house,  that  I  may  proceed  in  my  speech. 

Olivia.  Are  you  a  comedian? 

Viola.    No,  my  profound  heart ;  and  yet,  by  the 
very  fangs  of  malice  I  swear,  I  am  not  that  I  play.  190 
Are  you  the  lady  of  the  house  ? 

Olivia.    If  I  do  not  usurp  myself,  I  am. 

Viola.  Most  certain,  if  you  are  she,  you  do  usurp 
yourself ;  for  what  is  yours  to  bestow  is  not  yours  to 
reserve.  But  this  is  from  my  commission  ;  I  will  on 
with  my  speech  in  your  praise,  and  then  show  you 
the  heart  of  my  message. 

Olivia.  Come  to  what  is  important  in  't ;  I  forgive 
you  the  praise. 

Viola.   Alas,  I  took  great  pains  to  study  it,  and  't  200 
is  poetical. 

Olivia.    It  is  the  more  like  to  be  feigned ;  I  pray 


42  Twelfth  Night  [Act  I 

V.  l'' 

you,  keep  it  in.     I  heard  you  were  saucy  at  my  gates, 

and  allowed  your  approach  rather  to  wonder  at  you 
than  to  hear  you.  If  you  be  not  mad,  be  gone  ;  if 
you  have  reason,  be  brief;  't  is  not  that  time  of 
moon  with  me  to  make  one  in  so  skipping  a  dialogue. 

Maria.  Will  you  hoist  sail,  sir?  here  lies  your 
way. 

Viola.    No,  good  swabber ;  I  am  to  hull  here  a  lit- 210 
tie  longer.  —  Some  mollification  for  your  giant,  sweet 
lady.     Tell  me  your  mind  ;  I  am  a  messenger. 

Olivia.  Sure,  you  have  some  hideous  matter  to 
deliver,  when  the  courtesy  of  it  is  so  fearful.  Speak 
your  office. 

Viola.  It  alone  concerns  your  ear.  I  bring  no 
overture  of  war,  no  taxation  of  homage :  I  hold  the 
olive  in  my  hand ;  my  words  are  as  full  of  peace  as 
matter. 

Olivia.   Yet  you  began  rudely.     What  are  you  ?  220 
what  would  you  ? 

Viola.  The  rudeness  that  hath  appeared  in  me 
have  I  learned  from  my  entertainment.  What  I  am, 
and  what  I  would,  are  as  secret  as  maidenhead :  to 
your  ears,  divinity ;  to  any  other's,  profanation. 

Olivia.    Give  us  the  place  alone  ;  we  will  hear  this      * 
divinity.  —  [Exeunt  Maria  and  Attendants.}      Now,  f 
sir,  what  is  your  text  ? 

Viola.   Most  sweet  lady,  —  \ 

Olivia.    A  comfortable  doctrine,  and  much  may  be  230 
said  of  it.     Where  lies  your  text  ? 


Scene  V]  Twelfth   Night  43 

Viola.    In  Orsino's  bosom. 

Olivia.    In  his  bosom !     In  what  chapter  of   his 
bosom  ? 

Viola.   To  answer  by  the  method,  in  the  first  of 
his  heart. 

Olivia.    O,  I  have  read  it ;  it  is  heresy.      Have 
you  no  more  to  say  ? 

Viola.   Good  madam,  let  me  see  your  face. 

Olivia.    Have  you  any  commission  from  your  lord  240 
to  negotiate  with  my  face  ?  \   You  are  now  out  of  your 
text ;  but  we  will  draw  the  curtain  and  show  you  the 
picture.     Look  you,  sir,  such  a  one  I  was  this  pres-    ; 
ent ;  is  't  not  well  done  ?  [  Unveiling. 

Viola.    Excellently  done,  if  God  did  all. 

Olivia.    'T    is   in  grain,  sir;    't  will  endure  wind 
and  weather. 

Viola.    'T  is  beauty  truly  blent,  whose  red  and  white 
Nature's  own  sweet  and  cunning  hand  laid  on. 
Lady,  you  are  the  cruell'st  she  alive,  250 

If  you  will  lead  these  graces  to  the  grave 
And  leave  the  world  no  copy., 

Olivia.   O,  sir,  I  will  not  be  so  hard-hearted  ;  I  will 
give  out  divers  schedules  of  my  beauty.     It  shall  be 
inventoried,  and  every  particle  and  utensil  labelled 
to  my  will :  as,  item,  two  lips,  indifferent  red  ;  item, 
two  grey  eyes,  with  lids  to  them ;  item,  one  neck,     f\ 
one  chin,  and  so  forth.     Were   you  sent  hither  to/>  * 
praise  me  ? 

Viola.    I  see  you  what  you  are,  you  are  too  proud  ;  260 


44  Twelfth  Night  [Acti 

But,  if  you  were  the  devil,  you  are  fair. 
My  lord  and  master  loves  you ;  O,  such  love 
Could  be  but  recompens'd  though  you  were  crown 'd 
The  nonpareil  of  beauty  I 

Olivia.  How  does  he  love  me  ? 

Viola.   With  adorations,  with  fertile  tears, 
With  groans  that  thunder  love,  with  sighs  of  fire. 

Olivia.   Your  lord   does  know  my  mind ;    I  cannot 

love  him. 

Yet  I  suppose  him  virtuous,  know  him  noble, 
Of  great  estate,  of  fresh  and  stainless  youth  ; 
In  voices  well  divulg'd,  free,  learn 'd,  and  valiant ;      270 
And  in  dimension  and  the  shape  of  nature 
A  gracious  person.     But  yet  I  cannot  love  him ; 
He  might  have  took  his  answer  long  ago. 

Viola.   If  I  did  love  you  in  my  master's  flame, 
With  such  a  suffering,  such  a  deadly  life, 
In  your  .denial  I  would  find  no  sense ; 
I  would  not  understand  it. 

Olivia.  Why,  what  would  you  ? 

Viola.    Make  me  a  willow  cabin  at  your  gate, 
And  call  upon  my  soul  within  the  house ;  (,iu! 
Write  loyal  cantons  of  contemned  love,  280 

And  sing  them  loud  even  in  the  dead  of  night ; 
Halloo  your  name  to  the  reverberate  hills, 
And  make  the  babbling  gossip  of  the  air 
Cry  out  Olivia  !     O,  you  should  not  rest  ) 
Between  the  elements  of  air  and  earth, 
But  you  should  pity  me  1 


Scene  V]  Twelfth    Night  45 

Olivia.  You  might  do  much. 

What  is  your  parentage  ? 

Viola.   Above  my  fortunes,  yet  my  state  is  well ; 
I  am  a  gentleman. 

Olivia.  Get  you  to  your  lord ; 

I  cannot  love  him.     Let  him  send  no  more,  290 

Unless,  pprrhanrp^Qp  .r.nmp  to  me  again,  x^ 
To  tell  me  how  he  takes  it.     Fare  you  well. 
I  thank  you  for  your  pains  ;  spend  this  for  me. 

Viola.   I  am  no  fee'd  post,  lady,  keep  your  purse; 
My  master,  not  myself,  lacks  recompense. 
Love  make  his  heart  of  flint  that  you  shall  love ; 
And  let  your  fervour,  like  my  master's,  be 
Plac'd  in  contempt !     Farewell,  fair  cruelty.  [Exit. 

Olivia.   What  is  your  parentage  ? 

*  Above  my  fortunes,  yet  my  state  is  well ;  300 

I  am  a  gentleman.'     I  '11  be  sworn  thou  art ; 
Thy  tongue,  thy  face,  thy  limbs,  actions,  and  spirit, 
Do  give  thee  five-fold  blazon.  —  Not  too  fast !  soft,  soft  1 
Unless  the  master  were  the  man.  —  How  now ! 
Even  so  quickly  may  one  catch  the  plague  ? 
Methinks  I  feel  this  youth's  perfections 
With  an  invisible  and  subtle  stealth 
To  creep  in  at  mine  eyes.     Well,  let  it  be.  — 
What  ho,  Malvolio ! 

Re-enter  MALVOLIO 

Malvolio.  Here,  madam,  at  your  service. 

Olivia,    Run  after  that  same  peevish  messenger,     310 


46  Twelfth   Night  [Acti 

The  county's  man.     He  left  this  ring  behind  him, 
Would  I  or  not ;  tell  him  I  '11  none  of  it. 
Desire  him  not  to  flatter  with  his  lord, 
Nor  hold  him  up  with  hopes  ;  I  am  not  for  him. 
If  that  the  youth  will  come  this  way  to-morrow, 
I  '11  give  him  reasons  for  't.     Hie  thee,  Malvolio. 

Malvolio.    Madam,  I  will.  [Exit. 

Olivia.    I  do  I  know  not  what,  and  fear  to  find 
Mine  eye  too  great  a  flatterer  for  my  mind. 
Fate,  show  thy  force  !  ourselves  we  do  not  owe  ;         320 
What  is  decreed  must  be,  and  be  this  so  1  [Exit. 


PROPERTY  OF 

of  mm 


THE  SEA-COAST  NEAR  SPALATRO 


ACT    II 

SCENE  I.     The  Sea-coast 

Enter  ANTONIO  and  SEBASTIAN 

Antonio.  Will  you  stay  no  longer?  nor  will  you 
not  that  I  go  with  you  ? 

Sebastian.  By  your  patience,  no.  My  stars  shine 
darkly  over  me  ;  the  malignancy  of  my  fate  might 
perhaps  distempei  yours  ;  therefore  I  shall  crave  of 
you  your  leave  that  I  may  bear  my  evils  alone.  It 
were  a  bad  recompense  for  your  love,  to  lay  any 
of  them  on  you. 

Antonio.  Let  me  yet  know  of  you  whither  you  are 
bound. 

Sebastian.  No,  sooth,  sir  ;  my  determinate  voyage 
is  mere  extravagancy.  But  I  perceive  in  you  so 

47 


48  Twelfth   Night  [Act  n 

excellent  a  touch  of  modesty  that  you  will  not  extort 
from  me  what  I  am  willing  to  keep  in ;  therefore  it  ".) 
charges  me  in  manners  the  rather  to  express  myself.   , 
You  must  know  of  me  then,  Antonio,  my  name  is 
Sebastian,  which  I  called  Roderigo.     My  father  was 
that  Sebastian  of  Messaline  whom  I  know  you  have 
heard  of.     He  left  behind  him  myself  and  a  sister, 
both  born  in   an  hour.     If  the  heavens  had  been  20 
pleased,  would  we  had  so  ended  !  but  you,  sir,  altered 
that;  for  some  hour  before  you  took  me  from  the 
breach  of  the  sea  was  my  sister  drowned. 

Antonio.    Alas  the  day  ! 

Sebastian.  A  lady,  sir,  though  it  was  said  she  much 
resembled  me,  was  yet  of  many  accounted  beautiful ; 
but,  though  I  could  not  with  such  estimable  wonder 
overfar  believe  that,  yet  thus  far  I  will  boldly  publish 
her :  she  bore  a  mind  that  envy  could  not  but  call 
fair.  She  is  drowned  already,  sir,  with  salt  water,  30 
though  I  seem  to  drown  her  remembrance  again 
with  more. 

Antonio.    Pardon  me,  sir,  your  bad  entertainment. 

Sebastian.    O    good    Antonio,    forgive    me    your 
trouble  1 

Antonio.    If  you  will  not  murther  me  for  my  love, 
let  me  be  your  servant. 

Sebastian.    If  you  will  not  undo  what  you  have 
done,  that  is,  kill  him  whom  you  have  recovered, 
desire  it  not.     Fare  ye  well  at  once ;  my  bosom  is  40 
full  of  kindness,  and  I  am  yet  so  near  the  manners 


Scene  II]  Twelfth    Night  49 

of   my  mother  that   upon  the  least   occasion  more    \£ 
mine  eyes  will  tell  tales  of  me.     I  am  bound  to  the 
Count  Orsino's  court ;  farewell.  \Exit. 

Antonio,   The   gentleness   of   all  the   gods  go   with 

thee! 

I  have  many  enemies  in  Orsino's  court, 
Else  would  I  very  shortly  see  thee  there. 
But,  come  what  may,  I  do  adore  thee  so 
That  danger  shall  seem  sport  and  I  will  go.          \Exit,- 

SCENE  II.     A  Street 
Enter  VIOLA,  MALVOLIO  following 

Malvolio.  Were  not  you  even  now  with  the  Coun- 
tess Olivia  ? 

Viola.  Even  now,  sir  ;  on  a  moderate  pace  I  have 
since  arrived  but  hither. 

Malvolio.  She  returns  this  ring  to  you,  sir ;  you 
might  have  saved  me  my  pains,  to  have  taken  it 
away  yourself.  She  adds,  moreover,  that  you  should 
put  your  lord  into  a  desperate  assurance  she  will  none 
of  him ;  and  one  thing  more,  that  you  be  never  so 
hardy  to  come  again  in  his  affairs  unless  it  be  to  10 
report  your  lord's  taking  of  this.  Receive  it  so. 

Viola.    She  took  the  ring  of  me  ;  I  '11  none  of  it. 

Malvolio.  Come,  sir,  you  peevishly  threw  it  to  her, 
and  her  will  is  it  should  be  so  returned.  If  it  be 
worth  stooping  for,  there  it  lies  in  your  eye ;  if  not, 
be  it  his  that  finds  it.  [Exit. 

TWELFTH    NIGHT  —  4 


50  Twelfth   Night  [Act  II 

Viola.    I   left  no  ring  with  her ;    what   means   this 

lady  ? 

Fortune  forbid  my  outside  have  not  charm'd  her ! 
She  made  good  view  of  me  ;  indeed,  so  much 
That  sure  methought  her  eyes  had  lost  her  tongue,      20 
For  she  did  speak  in  starts  distractedly. 
She  loves  me,  sure  ;  the  cunning  of  her  passion 
Invites  me  in  this  churlish  messenger. 
None  of  my  lord's  ring !  why,  he  sent  her  none. 
I  am  the  man ;  if  it  be  so,  as  't  is, 
Poor  lady,  she  were  better  love  a  dream. 
Disguise,  I  see,  thou  art  a  wickedness, 
Wherein  the  pregnant  enemy  does  much. 
How  easy  is  it  for  the  proper-false 

In  women's  waxen  hearts  to  set  their  forms !  30 

Alas,  our  frailty  is  the  cause,  not  we ! 
For  such  as  we  are  made  of,  such  we  be. 
How  will  this  fadge  ?  my  master  loves  her  dearly ; 
And  I,  poor  monster,  fond  as  much  on  him ; 
And  she,  mistaken,  seems  to  dote  on  me. 
What  will  become  of  this  ?     As  I  am  man, 
My  state  is  desperate  for  my  master's  love ; 
As  I  am  woman,  —  now  alas  the  day  !  — 
What  thriftless  sighs  shall  poor  Olivia  breathe  !  — 
O  time  !  thou  must  untangle  this,  not  I ;  40 

It  is  too  hard  a  knot  for  me  to  untie  1  \Exit. ^ 


Scene  III]  Twelfth    Night  51 

SCENE  III.     Olivia's  House 

Enter  SIR  TOBY  and  SIR  ANDREW 

Sir  Toby.  Approach,  Sir  Andrew  ;  not  to  be  a-bed 
after  midnight  is  to  be  up  betimes,  and  '  diluculo 
surgere,'  thou  know'st,  — 

Sir  Andrew.  Nay,  by  my  troth,  I  know  not ;  but 
I  know  to  be  up  late  is  to  be  up  late. 

Sir  Toby.  A  false  conclusion  ;  I  hate  it  as  an  un- 
filled can.  To  be  up  after  midnight  and  to  go  to  bed 
then,  is  early ;  so  that  to  go  to  bed  after  midnight 
is  to  go  to  bed  betimes.  Does  not  our  life  consist  of 
the  four  elements  ?  10 

Sir  Andrew.  Faith,  so  they  say;  but  I  think  it 
rather  consists  of  eating  and  drinking. 

Sir  Toby.  Thou  'rt  a  scholar  ;  let  us  therefore  eat 
and  drink.  —  Marian,  I  say  I  a  stoup  of  wine  ! 

Enter  Clown 

Sir  Andrew.    Here  comes  the  fool,  i'  faith. 

Clown.  How  now,  my  hearts !  did  you  never  see 
the  picture  of  we  three  ? 

Sir  Toby.   Welcome,  ass.   '  Now  let 's  have  a  catch.        ' 

Sir  Andrew.    By  my  troth,  the  fool  has  an  excellent 
breast"?     I  had  rather  than  forty  shillings  I  had  such  20 
a  leg,  and  so  sweet  a  breath  to  sing,  as  the  fool  has. 
—  In  sooth,  thou  wast  in  very  gracious  fooling  last 
night,  when  thou  spokest  of  Pigrogromitus,  of  the      f 
1  Vapians  passing  the  equinoctial  of  Queubus ;  't  was 


52  Twelfth  Night  [Act  n 

very  good,  i'  faith.      I  sent  thee  sixpence  for  thy 
leman ;  hadst  it  ? 

Clown.  I  did  impeticos  thy  gratillity,  for  Malvo- 
lio's  nose  is  no  whipstock ;  my  lady  has  a  white  hand, 
and  the  Myrmidons  are  no  bottle-ale  houses. 

Sir  Andrew.    Excellent !  why,  this  is  the  best  fool-  30 
ing,  when  all  is  done.     Now,  a  song. 

Sir  Toby.  Come  on ;  there  is  sixpence  for  you ; 
let  's  have  a  song. 

Sir  Andrew.  There  's  a  testril  of  me  too ;  if  one 
knight  give  a  — 

Clown.  Would  you  have  a  love-song  or  a  song  of 
good  life  ? 

Sir  Toby.   A  love-song,  a  love-song. 

Sir  Andrew.    Ay,  ay ;  I  care  not  for  good  life. 

Clown.    [Sings]  40 

O  mistress  mine,  where  are  you  roaming  ? 
O,  stay  and  hear;  your  true  love  's  coming 

That  can  sing  both  high  and  low. 
Trip  no  further,  pretty  sweeting; 
Journeys  end  in  lovers  meeting, 
Every  wise  man's  son  doth  know. 

»        Sir  Andrew.   Excellent  good,  i'  faith. 
Sir  Toby.   Good,  good. 
Clown.    [Sings] 

What  is  love  ?  V  is  not  hereafter;  50 

Present  mirth  hath  present  laughter ; 
What 's  to  come  is  still  unsure* 


Scene  III]  Twelfth    Night  53 

In  delay  there  lies  no  plenty. 
Then  come  kiss  me^  sweet  and  twenty  ; 
Youth  V  a  stuff  will  not  endure. 

Sir  Andrew.  A  mellifluous  voice,  as  I  am  true 
knight. 

Sir  Toby.   A  contagious  Weath. 

Sir  Andrew.    Very  sweet  and  contagious,  i'  faith. 

Sir  Toby.    To  hear  by  the  nose,  it  is  dulcet  ip  con-  60 
tagion.     But  shall  we  make  the  welkin  dance  indeed  ?  -' 
shall  we  rouse  the  night-owl  in  a  catch  that  will  draw 
three  souls  out  of  one  weaver  ?  shall  we  do  that  ? 

Sir  Andrew.  An  you  love  me,  let 's  do  't ;  I  am 
dog  at  a  catch. 

Clown.    By  'r  lady,  sir,  and  some  dogs  will  catch 

well. 

/w-"C/«.'**'v-4 

Sir  Andrew.  Most  certain.  Let  our  catch  be, 
•Thou  knave.' 

Clown.    *  Hold  thy  peace,  thou  knave,' knight  ?     I  70  '• 
shall  be  constrained  in  't  to  call  thee  knave,  knight. 

Sir  Andrew.    'T  is  not  the  first  time  I  have  con- 
strained one  to  call  me  knave.     Begin,  fool ;  it  be-    '  « 
gins  *  Hold  thy  peace.' 

Clown.    I  shall  never  begin  if  I  hold  my  peace. 

Sir  Andrew.   Good,  i'  faith.   Come,  begin.  [Catch  sung. 

Enter  MARIA 

Maria.  What  a  caterwauling  do  you  keep  here  1 
If  my  lady  have  not  called  up  her  steward  Malvolio 
and  bid  him  turn  you  out  of  doors,  never  trust  me. 


54  Twelfth   Night  [Act  II 

Sir  Toby.    My  lady  's  a  Catalan,  we  are  politicians, 
Malvolio  's  a  Peg-a-Ramsey,  and  '  Three  merry  men 
be  we.'     Am  not  I  consanguineous  ?  am  I  not  of  her 
blood?     Tillyvally,  lady!     [Sings]  <  There   dwelt   a     ? 
man  in  Babylon,  lady,  lady  ! '  ^ 

Clown.  Beshrew  me,  the  knight  's  in  admirable 
fooling. 

Sir  Andrew.  Ay,  he  does  well  enough  if  he  be  dis- 
posed, and  so  do  I  too ;  he  does  it  with  a  better 
grace,  but  I  do  it  more  natural. 

Sir  Toby.   [Sings]  '  O,  the  twelfth  day  of  Decem-  90 
ber,'  — 

Maria.   For  the  love  of  God,  peace  I 

Enter  MALVOLIO 

Malvolio.  My  masters,  are  you  mad  ?  or  what  are 
you  ?  Have  you  no  wit,  manners,  nor  honesty,  but 
to  gabble  like  tinkers  at  this  time  of  night  ?  Do  ye 
make  an  alehouse  of  my  lady's  house,  that  ye  squeak 
out  your  coziers'  catches  without  any  mitigation  or 
remorse  of  voice  ?  Is  there  no  respect  of  place, 
persons,  nor  time  in  you  ? 

Sir  Toby.   We  did  keep  time,  sir,  in  our  catches.  ioc 
Sneck  up ! 

Malvolio.  Sir  Toby,  I  must  be  round  with  you. 
My  lady  bade  me  tell  you  that,  though  she  harbours 
you  as  her  kinsman,  she  's  nothing  allied  to  your  dis- 
orders. If  you  can  separate  yourself  and  your  mis- 
demeanours, you  are  welcome  to  the  house ;  if  not, 


Scene  III]  Twelfth    Night  55 

an  it  would  please  you  to  take  leave  of  her,  she  is 
very  willing  to  bid  you  farewell. 

Sir  Toby.  '  P'arewell,  dear  heart,  since  I  must 
needs  be  gone.1  no 

Maria.    Nay,  good  Sir  Toby. 

Clown.  '  His  eyes  do  show  his  days  are  almost 
done.' 

•Malvolio.    Is  't  even  so  ? 

Sir  Toby.   l  But  I  will  never  die.' 

Clown.    Sir  Toby,  there  you  lie. 

Malvolio.    This  is  much  credit  to  you. 

Sir  Toby.    '  Shall  I  bid  him  go  ? ' 

Clown.    '  What  an  if  you  do  ? ' 

Sir  Toby.    '  Shall  I  bid  him  go,  and  spare  not? '      120 

Clown.    '  O,  no,  no,  no,  no,  you  dare  not.' 

Sir  Toby.  Out  o'  time,  sir?  ye  lie.  —  Art  any 
more  than  a  steward  ?  Dost  thou  think,  because 
thou  art  virtuous,  there  shall  be  no  more  cakes  and 
ale? 

Clown.  Yes,  by  Saint  Anne,  and  ginger  shall  be 
hot  i'  the  mouth  too. 

Sir  Toby.  Thou  'rt  i'  the  right.  —  Go,  sir,  rub  your 
chain  with  crumbs.  —  A  stoup  of  wine,  Maria ! 

Malvolio.    Mistress  Mary,  if  you  prized  my  lady's  130 
favour  at  any  thing  more  than  contempt,  you  would 
not  give  means  for  this  uncivil  rule ;  she  shall  know 
of  it,  by  this  hand.  [Exit. 

Maria.    Go  shake  your  ears. 

Sir  Andrew.    'T  were  as  good  a  deed  as  to  drink 


56  Twelfth  Night  [Actn 

when  a  man  's  a-hungry,  to  challenge  him  the  field,  f 
and  then  to  break  promise  with  him  and  make  a  fool  * 
of  him. 

Sir  Toby.    Do  't,  knight !     I  '11  write  thee  a  chal- 
lenge ;    or   I  '11   deliver   thy   indignation  to  him  by  149 
word  of  mouth. 

Maria.  Sweet  Sir  Toby,  be  patient  for  to-night ; 
since  the  youth  of  the  count's  was  to-day  with  my 
lady,  she  is  much  out  of  quiet.  For  Monsieur  Mal- 
volio,  let  me  alone  with  him ;  if  I  do  not  gull  him 
into  a  nayword  and  make  him  a  common  recreation, 
do  not  think  I  have  wit  enough  to  lie  straight  in  my 
bed  ;  I  know  I  can  do  it. 

Sir  Toby.  Possess  us,  possess  us,  tell  us  some- 
thing of  him.  150 

Maria.  Marry,  sir,  sometimes  he  is  a  kind  of 
puritan. 

Sir  Andrew.  O,  if  I  thought  that,  I  'd  beat  him 
like  a  dog ! 

Sir  Toby.  What,  for  being  a  puritan  ?  thy  exqui- 
site reason,  dear  knight? 

Sir  Andrew.  I  have  no  exquisite  reason  for  't,  but 
I  have  reason  good  enough. 

Maria.   The  devil  a  puritan  that  he  is,  or  any 
thing  constantly  but  a  time-pleaser ;  an  affectioned  160 
ass,  that  cons  state  without  book  and  utters  it  by   ,. 
great   swarths ;   the  best  persuaded  of  himself,  so   - 
crammed,  as  he  thinks,  with  excellencies  that  it  is 
his  ground  of  faith  that  all  that  look  on  him  love 


Scene  III]  Twelfth    Night  57 

him  ;  and  on  that  vice  in  him  will  my  revenge  find 
notable  cause  to  work. 

Sir  Toby.    What  wilt  thou  do  ? 

Maria.  I  will  drop  in  his  way  some  obscure 
epistles  of  love,  wherein,  by  the  colour  of  his  beard, 
the  shape  of  his  leg,  the  manner  of  his  gait,  the  ex- 170 
pressure  of  his  eye,  forehead,  and  complexion,  he 
shall  find  himself  most  feelingly  personated.  I  can 
write  very  like  my  lady  your  niece ;  on  a  forgotten 
matter  we  can  hardly  make  distinction  of  our  hands. 

Sir  Toby.    Excellent !     I  smell  a  device. 

Sir  Andrew.    I  have  't  in  my  nose  too. 

Sir  Toby.  He  shall  think,  by  the  letters  that  thou 
wilt  drop,  that  they  come  from  my  niece  and  that 
she  's  in  love  with  him. 

Maria.    My  purpose  is,  indeed,  a   horse  of  thatiSo 
colour. 

Sir  Andrew.  And  your  horse  now  would  make 
him  an  ass. 

Maria.    Ass,  I  doubt  not. 

Sir  Andrew.   O,  't  will  be  admirable  ! 

Maria.  Sport  royal,  I  warrant  you ;  I  know  my 
physic  will  work  with  him.  I  will  plant  you  two, 
and  let  the  fool  make  a  third,  where  he  shall  find 
the  letter^  observe  his  construction  of  it.  For  this 
night,  to  bed,  and  dream  on  the  event.  Farewell.  190 

[Exit: 

Sir  Toby.   Good  night,  Penthesilea. 

Sir  Andrew.    Before  me,  she  's  a  good  wench. 


58  Twelfth   Night  [Act  n 

Sir  Toby.  She  's  a  beagle,  true-bred,  and  one  that 
adores  me.  What  o'  that  ? 

Sir  Andrew.    I  was  adored  once  too. 

Sir  Toby.  Let  's  to  bed,  knight.  —  Thou  hadst 
need  send  for  more  money. 

Sir  Andrew.  If  I  cannot  recover  your  niece,  I  am 
a  foul  way  out. 

Sir  Toby.    Send  for  money,  knight ;   if  thou  hast  200 
her  not  i'  the  end,  call  me  cut. 

Sir  Andrew.  If  I  do  not,  never  trust  me,  take  it 
how  you  will. 

Sir  Toby.  Come,  come,  I  '11  go  burn  some  sack ; 
't  is  too  late  to  go  to  bed  now.  Come,  knight; 
come,  knight.  \Exeunt. 

SCENE  IV.     The  Duke's  Palace 

Enter  DUKE,  VIOLA,  CURIO,  and  others 

Duke.   Give  me  some  music.  —  Now,  good  morrow, 

friends.  — 

Now,  good  Cesario,  but  that  piece  of  song, 
That  old  and  antique  song  we  heard  last  night. 
Methought  it  did  relieve  my  passion  much, 
More  than  light  airs  and  recollected  terms 
Of  these  most  brisk  and  giddy-paced  times. 
Come,  but  one  verse. 

Curio.  He  is  not  here,  so  please  your  lordship, 
that  should  sing  it. 

Duke.    Who  was  it  ?  10 


Scene  IV]  Twelfth    Night  59 

Curio.  Feste,  the  jester,  my  lord ;  a  fool  that  the 
lady  Olivia's  father  took  much  delight  in.  He  is 
about  the  house. 

Duke.    Seek    him    out,    and    play    the     tune     the 
while.  —  \_Exit  Curio.     Music  plays. 

Come  hither,  boy.     If  ever  thou  shalt  love, 
In  the  sweet  pangs  of  it  remember  me ; 
For  such  as  I  am  all  true  lovers  are, 
Unstaid  and  skittish  in  all  motions  else, 
Save  in  the  constant  image  of  the  creature 
That  is  belov'd.  |  How  dost  thou  like  this  tune  ?  20 

Viola.    It  gives  a  very  echo  to  the  seat 
Where  love  is  thron'd. 

Duke.  Thou  dost  speak  masterly. 

My  life  upon  't,  young  though  thou  art,  thine  eye 
Hath  stay'd  upon  some  favour  that  it  loves ; 
Hath  it  not,  boy  ? 

Viola.  A  little,  by  your  favour. 

Duke.    What  kind  of  woman  is  't  ? 

Viola.  Of  your  complexion. 

Duke.    She  is  not  worth  thee,  then.     What  years,  i' 
faith  ? 

Viola.   About  your  years,  my  lord. 

Duke.    Too   old,  by  heaven !     Let   still   the  woman 

take 

An  elder  than  herself ;  so  wears  she  to  him,  30 

So  sways  she  level  in  her  husband's  heart ; 
For,  boy,  however  we  do  praise  ourselves, 
Our  fancies  are  more  giddy  and  unfirm, 


60  Twelfth  Night  [Actn 

More  longing,  wavering,  sooner  lost  and  worn, 
Than  women's  are. 

Viola.  I  think  it  well,  my  lord. 

Duke.   Then  let  thy  love  be  younger  than  thyself, 
Or  thy  affection  cannot  hold  the  bent ; 
For  women  are  as  roses,  whose  fair  flower, 
Being  once  displayed,  doth  fall  that  very  hour. 

Viola.   And  so  they  are  ;  alas,  that  they  are  so,        40 
To  die,  even  when  they  to  perfection  grow  1 

Re-enter  CURIO  and  Clown 
Duke.   O,  fellow,  come,  the  song  we  had  last  night.  — 

Mark  it,  Cesario,  it  is  old  and  plain ; 

The  spinsters  and  the  knitters  in  the  sun 

And  the  free  maids  that  weave  their  thread  with  bones 

Do  use  to  chant  it.     It  is  silly  sooth, 

And  dallies  with  the  innocence  of  love, 

Like  the  old  age. 

Clown.   Are  you  ready,  sir  ?  49 

Duke.   Ay ;  prithee,  sing.  [Music. 

Song 
Clown.    Come  away,  come  away,  death, 

And  in  sad  cypress  let  me  be  laid. 
Fly  away,  fly  away,  breath  ; 

I  am  slain  by  a  fair  cruel  maid. 
My  shroud  of  white,  stuck  all  with  yew> 

O,  prepare  it! 

My  part  of  death,  no  one  so  true 
Did  share  it. 


Scene  IV]  Twelfth    Night  6 1 

Not  a  flower,  not  a  flower  sweet ', 

On  my  black  coffin  let  there  be  strown;  60 

Not  a  friend,  not  a  friend  greet 

My  poor  corpse,  where  my  bones  shall  be  thrown. 
A  thousand  thousand  sighs  to  save, 

Lay  me,  O,  where 
Sad  true  lover  never  find  my  grave, 
To  weep  there  /  . 

Duke.   There  's  for  thy  pains. 

Clown.    No  pains,  sir ;  I  take  pleasure  in  singing, 
sir. 

Duke.    I  '11  pay  thy  pleasure  then.  70 

Clown.    Truly,  sir,  and  pleasure  will  be  paid,  one    \ 
time  or  another. 

Duke.   Give  me  now  leave  to  leave  thee. 

Clown.    Now  the  melancholy  god  protect  thee ;  and 
the  tailor  make  thy  doublet  of  changeable  taffeta,  for 
thy  mind  is  a  very  opal!—  I  would  have  men  of  such  J 
constancy  put  to  sea,  that  their  business  might  be 
every  thing  and  their  intent  every  where  ;  for  that  's 
it  that  always  makes  a  good  voyage  of  nothing.  —  79 
Farewell.  [Exit. 

Duke.   Let  all  the  rest  give  place.  — 

[Curio  and  Attendants  retire. 
Once  more,  Cesario, 

Get  thee  to  yond  same  sovereign  cruelty. 
Tell  her,  my  love,  more  noble  than  the  world, 
Prizes  not  quantity  of  dirty  lands ; 


62  Twelfth  Night  [Actn 

The  parts  that  fortune  hath  bestow'd  upon  her, 
Tell  her,  I  hold  as  giddily  as  fortune, 
But  't  is  that  miracle  and  queen  of  gems 
That  nature  pranks  her  in  attracts  my  soul. 

Viola.    But  if  she  cannot  love  you,  sir  ?  89 

Duke.    I  cannot  be  so  answer'd. 

Viola.  Sooth,  but  you  must. 

Say  that  some  lady,  .as  perhaps  there  is, 
Hath  for  your  love  as  great  a  pang  of  heart 
As  you  have  for  Olivia  ;  you  cannot  love  her. 
You  tell  her  so  ;  must  she  not  then  be  answer'd  ? 

Duke.    There  is  no  woman's  sides 
Can  bide  the  beating  of  so  strong  a  passion 
As  love  doth  give  my  heart,  no  woman's  heart 
So  big  to  hold  so  much  ;  they  lack  retention. 
Alas,  their  love  may  be  call'd  appetite,  —     *) 
No  motion  of  the  liver,  but  the  palate,  —  100 

That  suffer  surfeit,  cloyment,  and  revolt ; 
But  mine  is  all  as  hungry  as  the  sea 
And  can  digest  as  much.     Make  no  compare 
Between  that  love  a  woman  can  bear  me 
And  that  I  owe  Olivia. 

Viola.  Ay,  but  I  know  — 

Duke.    What  dost  thou  know  ? 

Viola.    Too  well  what  love  women  to  men  may  owe  ; 
In  faith,  they  are  as  true  of  heart  as  we. 
My  father  had  a  daughter  lov'd  a  man, 
As  it  might  be,  perhaps,  were  I  a  woman,  no 

I  should  your  lordship. 


Scene  V]  Twelfth  Night  63 

Duke.  ,  And  what  's  her  history  ? 

Viola.   A  blank,  my  lord.     She  never  told  her  love, 
But  let  concealment,  like  a  worm  i'  the  bud, 
Feed  on  her  damask  cheek ;  she  pin'd  in  thought, 
And  with  a  green  and  yellow  melancholy 
She  sat  like  Patience  on  a  monument, 
Smiling  at  grief.     Was  not  this  love  indeed  ? 
We  men  may  say  more,  swear  more,  but  indeed 
Our  shows  are  more  than  will ;  for  still  we  prove 
Much  in  our  vows,  but  little  in  our  love.  120 

Duke.    But  died  thy  sister  of  her  love,  my  boy  ? 

Viola.    I  am  all  the  daughters  of  my  father's  house, 
And  all  the  brothers  too ;  —  and  yet  I  know  not. 
Sir,  shall  I  to  this  lady  ? 

Duke.  Ay,  that  's  the  theme, 

To  her  in  haste  ;  give  her  this  jewel ;  say, 
My  love  can  give  no  place,  bide  no  denay.          \Exeunt. 

SCENE  V.     Olivia's  Garden 

Enter  SIR  TOBY,  SIR  ANDREW,  and  FABIAN 

Sir  Toby.    Come  thy  ways,  Signior  Fabian. 

Fabian.  Nay,  I  '11  come  ;  if  I  lose  a  scruple  of  this 
sport,  let  me  be  boiled  to  death  with  melancholy. 

Sir  Toby.  Wouldst  thou  not  be  glad  to  have  the 
niggardly  rascally  sheep-biter  come  by  some  notable 
shame  ? 

Fabian.    I  would  exult,  man  ;  you  know,  he  brought 


64  Twelfth   Night  [Act  II 

me  out  o'  favour  with  my  lady  about  a  bear-baiting 
here. 

Sir  Toby.    To  anger  him  we  '11  have  the  bear  again,  10 
and  we  will  fool  him  black  and  blue  ;  —  shall  we  not, 
Sir  Andrew  ? 

Sir  Andrew.   An  we  do  not,  it  is  pity  of  our  lives. 

Sir  Toby.    Here  comes  the  little  villain.  — 

Enter  MARIA 
How  "now,  my  metal  of  India  ! 

Maria.   Get  ye  all  three  into  the  box-tree  ;  Malvo-- 
lio  's  coming  down  this  walk.     He  has  been  yonder 
i'  the  sun  practising  behaviour  to  his  own  shadow 
this  half  hour ;  observe  him,  for  the  love  of  mockery, 
for  I  know  this  letter  will  make  a  contemplative  idiot  20  ^ 
of  him.     Close,  in  the  name  of  jesting!  —  Lie  thou 
there  [throws  down  a  letter] ;  for  here  comes  the  trout 
that  must  be  caught  with  tickling.  [Exit, 

Enter  MALVOLIO 

Malvolio.  'T  is  but  fortune  ;  all  is  fortune.  Maria 
once  told  me  she  did  affect  me ;  and  I  have  heard 
herself  come  thus  near,  that,  should  she  fancy,  it 
should  be  one  of  my  complexion.  Besides,  she  uses 
me  with  a  more  exalted  respect  than  any  one  else 
that  follows  her.  What  should  I  think  on  't? 

Sir  Toby.   Here  's  an  overweening  rogue !  30 

Fabian.  O,  peace  1  Contemplation  makes  a  rare 
turkey-cock  of  him  1  how  he  jets  under  his  advanced 
plumes  1 


Scene  V]  Twelfth  Night  65 

Sir  Andrew.    'Slight,  I  could  so  beat  the  rogue  1 

Sir  Toby.    Peace,  I  say  ! 

•Malvolio.    To  be  Count  Malvolio  ! 

Sir  Toby.    Ah,  rogue  ! 

Sir  Andrew.    Pistol  him,  pistol  him. 

Sir  Toby.    Peace,  peace  ! 

Malvolio.    There  is  example  for  't ;  the  lady  of  the  40 
Strachy  married  the  yeoman  of  the  wardrobe. 

Sir  Andrew.    Fie  on  him,  Jezebel ! 

Fabian.  O,  peace  !  now  he  's  deeply  in  ;  look  how 
imagination  blows  him. 

Malvolio.  Having  been  three  months  married  to 
her,  sitting  in  my  state, —  '^ 

Sir  Toby.    O  for  a  stone-bow,  to  hit  him  in  the     ( 
eye ! 

Malvolio.    Calling   my  officers    about   me,  in   my 
branched  velvet  gown  ;   having   come  from  a  day-  50 
bed,  where  I  have  left  Olivia  sleeping, — 

Sir  Toby.    Fire  and  brimstone  ! 

Fabian.   O,  peace,  peace  ! 

Malvolio.  And  then  to  have  the  humour  of  state  ; 
and  after  a  demure  travel  of  regard,  telling  them  I 
know  my  place  as  I  would  they  should  do  theirs,  to 
ask  for  my  kinsman  Toby,  — 

Sir  Toby.    Bolts  and  shackles  ! 

Fabian.   O,  peace,  peace,  peace !  now,  now. 

Malvolio.    Seven  of  my  people,  with  an  obedient  60 
start,  make  out  for  him ;  I  frown  the  while,  and-  per- 
chance wind  up  my  watch,  or  play  with  my  —  some 

TWELFTH    NIGHT  —  5 


66  Twelfth  Night  [Actn 

rich  jewel.     Toby  approaches,  courtesies  there  to 
me,— 

Sir  Toby.    Shall  this  fellow  live  ? 

Fabian.  Though  our  silence  be  drawn  from  us  by 
th'  ears,  yet  peace. 

Malvolio.  I  extend  my  hand  to  him  thus,  quench- 
ing my  familiar  smile  with  an  austere  regard  of 
control,  —  70 

Sir  Toby.  And  does  not  Toby  take  you  a  blow  o' 
the  lips  then  ? 

Malvolio.  Saying,  '  Cousin  Toby,  my  fortunes 
having  cast  me  on  your  niece  give  me  this  preroga- 
tive of  speech/  — 

Sir  Toby.   What,  what  ? 

Malvolio.    '  You  must  amend  your  drunkenness.' 

Sir  Toby.   Out,  scab  ! 

Fabian.  Nay,  patience,  or  we  break  the  sinews  of 
our  plot,  f-  80 

Malvolio.  t  Besides,  you  waste  the  treasure  of  your 
time  with  a  foolish  knight,'  — 

Sir  Andrew.    That  's  me,  I  warrant  you. 

Malvolio. f '  One  Sir  Andrew/  — 

Sir  Andrew.  I  knew  'twas  I ;  for  many  do  call 
me  fool. 

Malvolio.   What  employment  have  we  here  ? 

{Taking  up  the  letter. 

Fabian.    Now  is  the  woodcock  near  the  gin. 

Sir  Toby.  O,  peace !  and  the  spirit  of  humours 
intimate  reading  aloud  to  him  1  90 


Scene  V]  Twelfth    Night  67 

Malvolio.  By  my  life,  this  is  my  lady's  hand  :  these 
be  her  very  C's,  her  U's,  and  her  T's  ;  and  thus  makes 
she  her  great  P's.  It  is,  in  contempt  of  question,  her 
hand. 

Sir  Andrew.  Her  C's,  her  U's,.  and  her  T's  ;  why 
that? 

''Malvolio.    [Reads]  '  To  the  unknown  beloved,  this, 
and  my  good  wishes? —  Her  very  phrases  !  —  By  your  O 
leave,  wax.  —  Soft !  and  the  impressure  her  Lucrece,  \ 
with  which  she  uses  to  seal ;  't  is  my  lady.    To  whom  100 
should  this  be  ? 

Fabian.    This  wins  him,  liver  and  all. 

Malvolio.    [Reads] 

'Jove  knows  I  love  ; 

But  who  1 
Lips,  do  not  move  ; 
No  man  must  know. ' 

'  No  man  must  know.' — What  follows  ?  the  numbers 
altered!  —  'No  man  must  know.'  —  If  this  should 
be  thee,  Malvolio  ?  no 

Sir  Toby.    Marry,  hang  thee,  brock  ! 

Malvolio.    [Reads] 

*  /  may  command  where  I  adore,  j_ 

But  silence,  like  a  Lucrece  knife, 
With  bloodless  stroke  my  heart  doth  gore  ; 
M,  Oy  A,  7,  doth  sway  my  life' 

Fabian.   A  fustian  riddle  1  / 


68  Twelfth  Night  [Actn 

Sir  Toby.    Excellent  wench,  say  I. 

Malvolio.    '  M,  O,  A,  I,  doth  sway  my  life.'  —  Nay, 
but  first,  let  me  see,  let  me  see,  let  me  see.  120 

Fabian.    What   dish   o'    poison    has    she  dressed 
him !  A 

Sir  Toby.    And  with  what  wing  the  staniel  checks  * 
at  it! 

Malvolio.  'I  may  command  where  I  adore.'  — 
Why,  she  may  command  me ;  I  serve  her,  she  is  my 
lady.  Why,  this  is  evident  to  any  formal  capacity ; 
there  is  no  obstruction  in  this;  and  the  end,  —  what 
should  that  alphabetical  position  portend  ?  If  I 
could  make  that  resemble  something  in  me,  —  Softly  !  130 
M,  0,A,I,— 

Sir  Toby.    O,  ay,  make  up  that!  —  he  is  now  at  a 
cold  scent. 

Fabian.    Sowter  will  cry  upon  't  for  all  this,  though  { 
it  be  as  rank  as  a  fox. 

Malvolio.    M,  —  Malvolio  ;  M,  —  why,  that  begins 
my  name. 

Fabian.    Did  not  I  say  he  would  work  it  out  ?  the 
cur  is  excellent  at  faults. 

Malvolio.    M,  —  but  then  there  is  no  consonancy  140 
in    the    sequel ;    that  suffers    under   probation.     A 
should  follow,  but  O  does. 

Fabian.    And  O  shall  end,  I  hope. 

Sir  Toby.    Ay,  or  I  '11  cudgel  him,  and  make  him 
cry  O! 

Malvolio,    And  then  /comes  behind. 


Scene  V]  Twelfth    Night  69 

Fabian.  Ay,  an  you  had  any  eye  behind  you,  you 
might  see  more  detraction  at  your  heels  than  fortunes 
before  you. 

Malvolio.  M,  O,  A,  /,  —  this  simulation  is  not  as  150 
the  former ;  and  yet,  to  crush  this  a  little,  it  would 
bow  to  me,  for  every  one  of  these  letters  are  in  my 
name.  Soft !  here  follows  prose. 
[Reads]  '  If  this  fall  into  thy  hand,  revolve.  In  my 
stars  I  am  above  thee,  but  be  not  afraid  of  greatness  ; 
some  are  born  great,  some  achieve  greatness,  and  some 
have  greatness  thrust  upon  ''em.  Thy  Fates  open  their 
hands,  let  thy  blood  and  spirit  embrace  them  ;  and,  to 
inure  thyself  to  what  thou  art  like  to  be,  cast  thy  humble 
slough  and  appear  fresh.  Be  opposite  with  a  kinsman,  160 
surly  with  servants  ;  let  thy  tongue  tang  arguments  of 
state  ;  put  thyself  into  the  trick  of  singularity ;  she  thus 
advises  thee  that  sighs  for  thee.  Remember  who  com- 
mended thy  yellow  stockings,  and  wished  to  see  thee  ever 
cross-gartered;  I  say,  remember.  Go  to,  thou  art  made, 
if  thou  desirest  to  be  so  ;  if  not,  let  me  see  thee  a  steward 
still,  the  fellow  of  servants,  and  not  worthy  to  touch 
Fortune's  fingers.  Farewell.  She  that  would  alter 
sennces  with  thee, 

THE  FORTUNATE-UNHAPPY.'     170 

Daylight  and  chanTpaign  discovers  not  more  ;  this  is 
open.     I  will  be  proud,  I  will  read  politic  authors,  I 
will  baffle  Sir  Toby,  I  will  wash  off  gross  acquaint-  q 
ance,  I  will  be  point-devise  the  very  man.     I  do  not     * 
now  fool  myself,  to  let  imagination  jade  me  ;  for  every 


yo  Twelfth  Night  [Actn 

reason  excites  to  this,  that  my  lady  loves  me.  She  did 
commend  my  yellow  stockings  of  late,  she  did  praise 
my  leg  being  cross-gartered ;  and  in  this  she  manifests 
herself  to  my  love,  and  with  a  kind  of  injunction  drives 
me  to  these  habits  of  her  liking.  I  thank  my  stars  1 180 
am  happy.  I  will  be  strange,  stout,  in  yellow  stock- 
ings, and  cross-gartered,  even  with  the  swiftness  of 
putting  on.  Jove  and  my  stars  be  praised  1  Here  is 
yet  a  postscript. 

[Reads]  '  Thou  canst  not  choose  but  know  who  I  am.  If 
thou  entertainest  my  love,  let  it  appear  in  thy  smiling ; 
thy  smiles  become  thee  well,  therefore  in  my  presence  still 
smile,  dear  my  sweet,  I  prithee? 

Jove,  I  thank  thee  !  —  I  will  smile  ;  I  will  do  every- 
thing that  thou  wilt  have  me.  [Exit.  190 

Fabian.    I  will  not  give  my  part  of  this  sport  for  a^ 
pension  of  thousands  to  be  paid  from  the  Sophy. 

Sir  Toby.    I  could  marry  this  wench  for  this  device. 

Sir  Andrew.    So  could  I  too. 

Sir  Toby.   And  ask  no  other  dowry  with  her  but 
such  another  jest. 

Sir  Andrew.    Nor  I  neither. 

Fabian.    Here  comes  my  noble  gull-catcher. 

Re-enter  MARIA 

Sir  Toby.    Wilt  thou  set  thy  foot  o'  my  neck  ? 
Sir  Andrew.   Or  o'  mine  either  ?  200 

Sir  Toby.    Shall  I  play  my  freedom  at  tray-trip  and 
become  thy  bond-slave  ? 


Scene  V]  Twelfth    Night  71 

Sir  Andrew.    V  faith,  or  I  either  ? 

Sir  Toby.  Why,  thou  hast  put  him  in  such  a  dream 
that  when  the  image  of  it  leaves  him  he  must  run 
mad. 

Maria.  Nay,  but  say  true ;  does  it  work  upon 
him  ? 

Sir  Toby.   Like  aqua-vitae  with  a  midwife. 

Maria.  If  you  will  then  see  the  fruits  of  the  sport,  210 
mark  his  first  approach  before  my  lady.  He  will 
come  to  her  in  yellow  stockings,  —  and  't  is  a  colour 
she  abhors  ;  and  cross-gartered,  a  fashion  she  detests  ; 
and  he  will  smile  upon  her,  which  will  now  be  so 
unsuitable  to  her  disposition,  being  addicted  to  a 
melancholy  as  she  is,  that  it  cannot  but  turn  him  into 
a  notable  contempt.  If  you  will  see  it,  follow  me. 

Sir  Toby.  To  the  gates  of  Tartar,  thou  most  excel- 
lent devil  of  wit !  219 

Sir  Andrew.    I  '11  make  one  too.  [Exeunt. 


OLIVIA'S  GARDEN 


ACT   III 

SCENE  I.     Olivia's  Garden 
Enter  VIOLA  and  CLOWN  with  a  tabor 

Viola.  Save  thee,  friend,  and  thy  music !  Dost 
thou  live  by  thy  tabor  ? 

Clown.    No,  sir,  I  live  by  the  church. 

Viola.    Art  thou  a  churchman  ? 

Clown.  No  such  matter,  sir.  I  do  live  by  the 
church ;  for  I  do  live  at  my  house,  and  my  house 
doth  stand  by  the  church. 

Viola.  So  thou  mayst  say,  the  king  lies  by  a  beg- 
gar, if  a  beggar  dwell  near  him  ;  or  the  church  stan-ds 
by  thy  tabor,  if  thy  tabor  stand  by  the  church.  10 

72 


Scene  I]  Twelfth    Night  73 

Clown.   You  have  said,  sir.  —  To  sqe  this  age  !  —       O 
A  sentence  is  but  a  cheveril  glove  to  a  good  wit ;  how 
quickly  the  wrong  side  may  be  turned  outward ! 

Viola.  Nay,  that's  certain  ;  they  that  dally  nicely 
with  words  may  quickly  make  them  wanton. 

Clown.  I  would,  therefore,  my  sister  had  had  no 
name,  sir. 

Viola.    Why,  man  ? 

Clown.    Why,  sir,  her  name  's  a  word  ;  and  to  dally 
with  that  word  might  make  my  sister  wanton.     But  20 
indeed  words  are  very  rascals  since  bonds  disgraced 
them. 

Viola.    Thy  reason,  man  ? 

Clown.  Troth,  sir,  I  can  yield  you  none  without 
words,  and  words  are  grown  so  false  I  am  loath  to 
prove  reason  with  them. 

Viola.  I  warrant  thou  art  a  merry  fellow  and 
carest  for  nothing. 

Clown.    Not  so,  sir,  I  do  care  for  something,  but 
in  my  conscience,  sir,  I  do  not  care  for  you ;  if  that  30 
be  to  care  for  nothing,  sir,  I  would  it  would  make 
you  invisible. 

Viola.   Art  not  thou  the  Lady  Olivia's  fool  ? 

Clown.  No,  indeed,  sir ;  the  Lady  Olivia  has  no 
folly.  She  will  keep  no  fool,  sir,  till  she  be  married  ; 
and  fools  are  as  like  husbands  as  pilchards  are  to 
herrings,  the  husband  's  the  bigger.  I  am  indeed 
not  her  fool,  but  her  corrupter  of  words. 

Viola.   I  saw  thee  late  at  the  Count  Orsino's. 


74  Twelfth   Night  [Act  m 

Clown.    Foolery,  sir,  does  walk  about  the  orb  like  40 
the  sun,  it  shines  every  where.     I  would  be  sorry,  sir, 
but  the  fool  should  be  as  oft  with  your  master  as  with 
my  mistress.     I  think  I  saw  your  wisdom  there. 

Viola.  Nay,  an  thou  pass  upon  me,  I  '11  no  more 
with  thee.  Hold,  there  's  expenses  for  thee. 

Clown.  Now  Jove,  in  his  next  commodity  of  hair, 
send  thee  a  beard  ! 

Viola.  By  my  troth,  I  '11  tell  thee,  I  am  almost  sick 
for  one ;  \Aside\  though  I  would  not  have  it  grow  on 
my  chin.  Is  thy  lady  within  ?  //SHUX-  */  <J*^/  5° 

Clown.   Would  not  a  pair  of  these  have  bred,  sir  ? 

Viola.   Yes,  being  kept  together  and  put  to  use. 

Clown.    I  would  play  Lord  Pandarus  of  Phrygia,  ^ 
sir,  to  bring  a  Cressida  to  this  Troilus. 

Viola.    I  understand  you,  sir ;  't  is  well  begged. 

Clown.  The  matter,  I  hope,  is  not  great,  sir,  beg- 
ging but  a  beggar  ;  Cressida  was  a  beggar.  My  lady 
is  within,  sir.  I  will  construe  to  them  whence  you 
come ;  who  you  are  and  what  you  would  are  out  of 
my  welkin,  —  I  might  say  element,  but  the  word  is  60 
overworn.  [Exit. 

Viola.    This  fellow  is  wise  enough  to  play  the  fool ; 
And  to  do  that  well  craves  a  kind  of  wit. 
He  must  observe  their  mood  on  whom  he  jests, 
The  quality  of  persons  and  the  time, 
Not,  like  the  haggard,  check  at  every  feather 
That  comes  before  his  eye.     This  is  a  practice 


Scene  I]  Twelfth    Night  75 

As  full  of  labour  as  a  wise  man's  art ; 

For  folly  that  he  wisely  shows  is  fit, 

But  wise  men's  folly  shown  quite  taints  their  wit.         70 

Enter  SIR  TOBY  and  SIR  ANDREW 

Sir  Toby.    Save  you,  gentleman. 

Viola.   And  you,  sir. 

Sir  Andrew.    Dieu  vous  garde,  monsieur. 

Viola.    Et  vous  aussi ;  votre  serviteur. 

Sir  Andrew.    I  hope,  sir,  you  are  ;  and  I  am  yours. 

Sir  Toby.  Will  you  encounter  the  house  ?  my  niece 
is  desirous  you  should  enter,  if  your  trade  be  to  her. 

Viola.  I  am  bound  to  your  niece,  sir ;  I  mean,  she 
is  the  list  of  my  voyage. 

Sir  Toby.   Taste  your  legs,  sir  ;  put  them  to  motion.  80 

Viola.  My  legs  do  better  understand  me,  sir,  than 
I  understand  what  you  mean  by  bidding  me  taste  my 
legs. 

Sir  Toby.    I  mean,  to  go,  sir,  to  enter. 

Viola.  I  will  answer  you  with  gait  and  entrance. 
But  we  are  prevented.  — 

Enter  OLIVIA  and  MARIA 

Most  excellent  accomplished  lady,  the  heavens  rain 
odours  on  you ! 

Sir  Andrew.  That  youth  's  a  rare  courtier.  '  Rain 
odours  ! '  well !  90 

Viola.  My  matter  hath  no  voice,  lady,  but  to  your 
own  most  pregnant  and  vouchsafed  ear. 


76  Twelfth   Night  [Act  ill 

Sir  Andrew.  'Odours,'  'pregnant,'  and  'vouch- 
safed ! '  I  '11  get  'em  all  three  all  ready. 

Olivia.  Let  the  garden  door  be  shut,  and  leave  me 
to  my  hearing.  —  \Exeunt  Sir  Toby,  Sir  Andrew,  and 
Marial\  Give  me  your  hand,  sir. 

Viola.    My  duty,  madam,  and  most  humble  service. 

Olivia.   What  is  your  name  ? 

Viola.    Cesario   is   your    servant's   name,   fair    prin- 
cess. 100 

Olivia.    My  servant,  sir  !  't  was  never  merry  world 
Since  lowly  feigning  was  call'd  compliment ; 
You  're  servant  to  the  Count  Orsino,  youth. 

Viola.    And   he    is   yours,  and   his    must   needs    be 

yours  ; 
Your  servant's  servant  is  your  servant,  madam. 

Olivia.    For    him,    I    think    not    on    him ;    for    his 

thoughts, 
Would  they  were  blanks  rather  than  fill'd  with  me ! 

Viola.    Madam,  I  come  to  whet  your  gentle  thoughts 
On  his  behalf. 

Olivia.  O,  by  your  leave,  I  pray  you, 

I  bade  you  never  speak  again  of  him  ;  no 

But,  would  you  undertake  another  suit, 
I  had  rather  hear  you  to  solicit  that 
Than  music  from  the  spheres. 

Viola.  Dear  lady,  — 

t        Olivia.    Give  me  leave,  beseech  you.     I  did  send, 
"   After  the  last  enchantment  you  did  here, 
A  ring  in  chase  of  you ;  so  did  I  abuse 


Scene  i]  Twelfth  Night  77 

Myself,  my  servant,  and,  I  fear  me,  you. 
Under  your  hard  construction  must  I  sit, 
To  force  that  on  you,  in  a  shameful  cunning, 
Which   you   knew    none    of    yours ;    what    might   you 
think  ?  120 

Have  you  not  set  mine  honour  at  the  stake, 
And  baited  it  with  all  the  unmuzzled  thoughts 
That   tyrannous    heart    can    think?     To  one  of    your 

receiving 

Enough  is  shown ;  a  cypress,  not  a  bosom, 
Hideth  my  heart.     So,  let  me  hear  you  speak. 

Viola.    I  pity  you. 

Olivia.  That 's  a  degree  to  love. 

Viola.    No,  not  a  grise  ;  for  't  is  a  vulgar  proof 
That  very  oft  we  pity  enemies. 

Olivia.    Why,  then,  methinks  't  is  time* to  smile  again. 

0  world,  how  apt  the  poor  are  to  be  proud !  130 
If  one  should  be  a  prey,  how  much  the  better 

To  fall  before  the  lion  than  the  wolf !          \Clock  strikes. 
The  clock  upbraids  me  with  the  waste  of  time.  — 
Be  not  afraid,  good  youth,  I  will  not  have  you ; 
And  yet,  when  wit  and  youth  is  come  to  harvest, 
Your  wife  is  like  to  reap  a  proper  man.  — 
There  lies  your  way,  due  west. 

Viola.  Then  westward-ho ! 

Grace  and  good  disposition  attend  your  ladyship ! 
You  '11  nothing,  madam,  to  my  lord  by  me  ? 

Olivia.    Stay !  140 

1  prithee,  tell  me  what  thou  think'st  of  me. 


78  Twelfth  Night  [Actm 

Viola.    That  you  do  think  you  are  not  what  you  are. 

Olivia.    If  I  think  so,  I  think  the  same  of  you. 

Viola.    Then  think  you  right ;  I  am  not  what  I  am. 

Olivia.    I  would  you  were  as  I  would  have  you  be ! 

Viola.   Would  it  be  better,  madam,  than  I  am  ? 
I  wish  it  might,  for  now  I  am  your  fool. 

Olivia.   O,  what  a  deal  of  scorn  looks  beautiful/ 
In  the  contempt/and  anger  of  his  lip  ]/ 
A  murtherous  guilt  shows  not/itself  more  soon  150 

Than  love  that  would  seem  hid  ;/  love's  night  is  noon.  — 
Cesario,  by  the  roses  of  the  spring, 
By  maidhood,  honour,  truth,  and  every  thing, 
I  love  thee  so  that,  maugre  all  thy  pride, 
Nor  wit  nor  reason  can  my  passion  hide.         /  o 
Do  not  extort  thy  reasons  from  this  clause,      ,  £ 
For  that  I  woo,  thou  therefore  hast  no  cause  j  /  o 
But  rather  reason  thus  with  reason  fetter,/-—'    /./ , 
Love  sought  is  good,  but  given  unsought  is  better. 

Viola.   By  innocence  I  swear,  and  by  my  youth,     160 
I  have  one  heart,  one  bosom,  and  one  truth, 
And  that  no  woman  has  ;  nor  never  none 
Shall  mistress  be  of  it,  save  I  alone. 
And  so  adieu,  good  madam  ;  never  more 
Will  I  my  master's  tears  to  you  deplore. 

Olivia.   Yet  come  again;    for   thou  perhaps  mayst 

move 
That  heart,  which  now  abhors,  to  like  his  love. 

[Exeunt. 


Scene  II]  Twelfth    Night  79 


SCENE  II.     Olivia's  House 
Enter  SIR  TOBY,  SIR  ANDREW,  ^ind  FABIAN 

Sir  Andrew.    No,  faith,  I  '11  not  stay  a  jot  longer. 

Sir  Toby.  Thy  reason,  dear  venom,  give  thy 
reason. 

Fabian.  You  must  needs  yield  your  reason,  Sir 
Andrew. 

Sir  Andrew.  Marry,  I  saw  your  niece  do  more 
favours  to  the  count's  serving-man  than  ever  she  be- 
stowed upon  me ;  I  saw  't  i'  the  orchard. 

Sir  Toby.  Did  she  see  thee  the  while,  old  boy? 
tell  me  that.  10 

Sir  Andrew.    As  plain  as  I  see  you  now. 

Fabian.  This  was  a  great  argument  of  love  in  her 
toward  you. 

Sir  Andrew.    'Slight !  will  you  make  an  ass  o'  me  ? 

Fabian.    I  will  prove  it  legitimate,  sir,  upon  the  ^ 
oaths  of  judgment  and  reason. 

Sir  Toby.  And  they  have  been  grand-jurymen 
since  before  Noah  was  a'  sailor. 

Fabian.  She  did  show  favour  to  the  youth  in  your 
sight  only  to  exasperate  you,  to  awake  your  dor-  20 
mouse  valour,  to  put  fire  in  your  heart  and  brim- 
stone in  your  liver.  You  should  then  have  accosted 
her ;  and  with  some  excellent  jests,  fire-new  from  the 
mint,  you  should  have  banged  the  youth  into  dumb- 
ness. This  was  looked  for  at  your  hand,  and  this 


8o  Twelfth   Night  [Actm 

was  balked ;  the  double  gilt  of  this  opportunity  you 
let  time  wash  off  and  you  are  now  sailed  into  the 
north  of  my  lady',s  opinion,  where  you  will  hang  like 
an  icicle  on  a  Dutchman's  beard,  unless  you  do  re- 
deem it  by  some  laudable  attempt  either  of  valour  30 
or  policy. 

Sir  Andrew.  An  't  be  any  way,  it  must  be  with  ^ 
valour,  for  policy  I  hate  ;  I  had  as  lief  be  a  Brownist  \ 
as  a  politician. 

Sir  Toby.    Why,  then,  build  me  thy  fortunes  upon 
the  basis  of  valour.    Challenge  me  the  count's  youth  ^ 
to  fight  with  him ;  hurt  him  in  eleven  places.     My  * 
niece  shall  take  note  of  it ;  and  assure  thyself,  there 
is  no  love-broker  in  the  world  can  more  prevail  in 
man's  commendation  with  woman    than    report   of  40 
valour. 

Fabian.    There  is  no  way  but  this,  Sir  Andrew. 

Sir  Andrew.    Will  either  of  you  bear  me  a  chal- 
lenge to  him  ? 

Sir  Toby.    Go,  write  it  in  a  martial  hand  ;  be  curst 
and  brief ;  it  is  no  matter  how  witty,  so  it  be  elo- 
quent and  full   of  invention  ;    taunt    him  with   the '. 
license  of  ink;  if  thou  thou'st  him  some  thrice,  it 
shall  not  be  amiss ;  and  as  many  lies  as  will  lie  in 
thy  sheet  of    paper,   although    the  sheet  were  big  50 
enough  for  the  bed  of  Ware  in  England,  set  'em  7 
down  ;  go,  about  it.    Let  there  be  gall  enough  in  thy 
ink,  though  thou  write  with  a  goose-pen,  no  matter;  \ 
about  it. 


Scene  II]  Twelfth    Night  8 1 

Sir  Andrew.    Where  shall  I  find  you  ? 

Sir  Toby.   We  '11  call  thee  at  the  cubiculo  ;  go. 

[Exit  Sir  Andrew. 

Fabian.    This  is  a  dear  manikin  to  you,  Sir  Toby. 

Sir  Toby.  I  have  been  dear  to  him,  lad,  some  two 
thousand  strong,  or  so. 

Fabian.    We   shall  have  a  rare  letter  from  him ;  60 
but  you  '11  not  deliver  't? 

Sir  Toby.  Never  trust  me,  then  ;  and  by  all  means 
stir  on  the  youth  to  an  answer.  I  think  oxen  and 
wainropes  cannot  hale  them  together.  For  Andrew 
if  he  were  opened,  and  you  find  so  much  blood  in 
his  liver  as  will  clog  the  foot  of  a  flea,  I  '11  eat  the 
rest  of  the  anatomy. 

Fabian.  And  his  opposite,  the  youth,  bears  in  his 
visage  no  great  presage  of  cruelty. 

Enter  MARIA 

7 

Sir  Toby.   Look,  where  the  youngest  wren  of  nine  70 
comes. 

Maria.  If  you  desire  the  spleen,  and  will  laugh 
yourselves  into  stitches,  follow  me.  Yond  gull  Mal- 
volio  is  turned  heathen,  a  very  renegado ;  for  there 
is  no  Christian  that  means  to  be  saved  by  believing 
rightly  can  ever  believe  such  impossible  passages  of 
grossness.  He  's  in  yellow  stockings. 

Sir  Toby.    And  cross-gartered  ? 

Maria.  Most  villanously,  like  a  pedant  that  keeps 
a  school  i'  the  church.  I  have  dogged  him  like  his  80 

TWELFTH   NIGHT  —  6 


8i  Twelfth   Night  [Actm 

murtherer.  He  does  obey  every  point  of  the  letter 
that  I  dropped  to  betray  him  ;  he  does  smile  his  face  ^ 
into  more  lines  than  is  in  the  new  map  with  the  aug- 
mentation of  the  Indies ;  you  have  not  seen  such  a 
thing  as  't  is.  I  can  hardly  forbear  hurling  things 
at  him.  I  know  my  lady  will  strike  him ;  if  she  do, 
he  '11  smile  and  take  't  for  a  great  favour. 

Sir  Toby.   Come,  bring  us,  bring  us  where  he  is. 

[Exeunt 

SCENE   III.     A  Street 
Enter  SEBASTIAN  and  ANTONIO 

Sebastian.    I  would  not  by  my  will  have  troubled  you ; 
But,  since  you  make  your  pleasure  of  your  pains, 
I  will  no  further  chide  you. 

Antonio.    I  could  not  stay  behind  you.     My  desire, 
More  sharp  than  filed  steel,  did  spur  me  forth ; 
And  not  all  love  to  see  you,  though  so  much 
As  might  have  drawn  one  to  a  longer  voyage, 
But  jealousy  what  might  befall  your  travel, 
Being  skilless  in  these  parts,  which  to  a  stranger, 
Unguided  and  unfriended,  often  prove 
Rough  and  unhospitable.     My  willing  love, 
The  rather  by  these  arguments  of  fear, 
Set  forth  in  your  pursuit. 

Sebastian.  My  kind  Antonio, 

I  can  no  other  answer  make  but  thanks, 
And  thanks,  and  ever  thanks,  —  and  oft  good  turns 


Scene  III]  Twelfth    Night  83 

Are  shuffled  off  with  such  uncurrent  pay ; 
But,  were  my  worth  as  is  my  conscience  firm, 
You  should  find  better  dealing.     What  's  to  do  ? 
Shall  we  go  see  the  reliques  of  this  town  ? 

Antonio.    To-morrow,    sir ;   best    first    go    see    your 
lodging.  20 

Sebastian.    I  am  not  weary,  and  't  is  long  to  night ; 
I  pray  you,  let  us  satisfy  our  eyes 
With  the  memorials  and  the  things  of  fame 
That  do  renown  this  city; 

Antonio.  Would  you  'd  pardon  me  ! 

I  do  not  without  danger  walk  these  streets. 
Once,  in  a  sea-fight,  'gainst  the  count  his  galleys 
I  did  some  service ;  of  such  note  indeed 
That  were  I  ta'en  here  it  would  scarce  be  answer'd. 

Sebastian.    Belike  you    slew   great    number    of    his 
people.  A*  v<  \ 

Antonio.   The    offence    is    not    of    such    a    bloody 
nature,  30 

Albeit  the  quality  of  the  time  and  quarrel 
Might  well  have  given  us  bloody  argument. 
It  might  have  since  been  answer'd  in  repaying 
What  we  took  from  them,  which,  for  traffic's  sake, 
Most  of  our  city  did ;  only  myself  stood  out, 
For  which,  if  I  be  lapsed  in  this  place,   t~ 
I  shall  pay  dear. 

Sebastian.  Do  not  then  walk  too  open. 

Antonio.    It  doth  not  fit  me.     Hold,  sir,  here  's  my 
purse. 


84  Twelfth  Night  [Act  m 

In  the  south  suburbs,  at  the  Elephant, 
Is  best  to  lodge.     I  will  bespeak  our  diet  40 

Whiles  you  beguile  the  time  and  feed  your  knowledge 
With  viewing  of  the  town ;  there  shall  you  have  me. 

Sebastian.    Why  I  your  purse  ? 

Antonio.   Haply  your  eye  shall  light  upon  some  toy 
You  have  desire  to  purchase  ;  and  your  store, 
I  think,  is  not  for  idle  markets,  sir. 

Sebastian.   I  '11  be  your  purse-bearer  and  leave  you 
For  an  hour. 

Antonio.   To  the  Elephant. 

Sebastian.  I  do  remember.     '[Exeunt. 


j 


SCENE  IV.     Olivia's  Garden 
Enter  OLIVIA  and  MARIA 


Olivia.   I  have  sent  after  him  ;  he  says  he  '11  come. 
How  shall  I  feast  him  ?  what  bestow  of  him  ? 
For  youth  is  bought  more  oft  than  begg'd  or  borrow'd. 
I  speak  too  loud.  — 

Where  is  Malvolio  ?  —  he  is  sad  and  civil, 
And  suits  well  for  a  servant  with  my  fortunes,  — 
Where  is  Malvolio  ? 

Maria.  He  's  coming,  madam,  but  in  very  strange 
manner.  He  is,  sure,  possessed,  madam. 

Olivia.*  W7hy,  what 's  the  matter  ?  does  he  rave  ?      10 

Maria.  No,  madam,  he  does  nothing  but  smile? 
Your  ladyship  were  best  to  have  some  guard  about 
you  if  he  come,  for,  sure,  the  man  is  tainted  in  's  wits. 


Scene  IV]  Twelfth    Night  85 

Olivia.   Go  call  him  hither.  —  \Exit  Maria.]     I  am 

as  mad  as  he, 
If  sad  and  merry  madness  equal  be.  — 

Re-enter  MARIA  with  MALVOLIO 

How  now,  Malvolio ! 

Malvolio.    Sweet  lady,  ho,  ho ! 

Olivia.    Smilest  thou  ? 
I  sent  for  thee  upon  a  sad  occasion. 

Malvolio.    Sad,  lady !     I  could  be  sad  ;  this  does  20 
make  some  obstruction  in  the  blood,  this  cross-gar- 
tering, but  what  of  that  ?  if  it  please  the  eye  of  one, 
it  is  with  me  as  the  very  true  sonnet  is,  '  Please  one, 
and  please  all.' 

Olivia.    Why,  how  dost  thou,  man  ?  what  is  the 
matter  with  thee  ?  ^ 

Malvolio.  Not  black  in  my  mind,  though  yellow  in  my      f 
legs.  —  It  did  come  to  his  hands,  and  commands  shall 
be  executed ;  I  think  we  do  know  the  sweet  Roman  hand. 

Olivia.   Wilt  thou  go  to  bed,  Maivolio  ?  30 

Malvolio.   To  bed  !  ay,  sweet-hear\and  iXl  come 
to  thee. 

Olivia.   God  comfort  thee  !     Why  dost  thou  smile 
so  and  kiss  thy  hand  so  oft  ? 

Maria.    How  do  you,  Malvolio  ? 

Malvolio.   At  your  request !  yes  ;  nightingales  an- 
swer daws. 

Maria.    Why  appear  you  with  this  ridiculous  bold- 
ness before  my  lady  ? 


86  Twelfth  Night  [Actm 

Malvolio.    '  Be  not  afraid  of  greatness  ;  ' —  't  was  40 
well  writ. 

Olivia.   What  meanest  thou  by  that,  Malvolio  ? 

Malvolio.   '  Some  are  born  great,'  — 

Olivia.    Ha! 

Malvolio.   '  Some  achieve  greatness,' — 

Olivia.   What  sayest  thou  ? 

Malvolio.  *  And  some  have  greatness  thrust  upon 
them.7 

Olivia.   Heaven  restore  thee  ! 

Malvolio.  '  Remember  who  commended  thy  yellow  50 
stockings,'  — 

Olivia.    Thy  yellow  stockings  ! 

Malvolio.    '  And  wished  to  see  thee  cross-gartered.' 

Olivia.    Cross-gartered ! 

Malvolio.  '  Go  to,  thou  art  made,  if  thou  desirest 
to  be  so  ;'  — 

Olivia.   Am  I  made£ 

Malvolio.  '  If  not,  let  me  see  thee  a  servant 
still.' 

Olivia.   Why,  this  is  very  midsummer  madness.        60 

Enter  Servant 

Servant.  Madam,  the  young  gentleman  of  the 
Count  Orsino's  is  returned ;  I  could  hardly  entreat 
him  back.  He  attends  your  ladyship's  pleasure. 

Olivia.  I  '11  come  to  him.  —  [Exit  Servant. ~]  Good 
Maria,  let  this  fellow  be  looked  to.  Where  's  my 
cousin  Toby  ?  Let  some  of  my  people  have  a  special 


Scene  IV]  Twelfth    Night  87 

care  of  him ;  I  would  not  have  him  miscarry  for  the 
half  of  my  dowry.  \Exeunt  Olivia  and  Maria. 

Malvolio.  O,  ho !  do  you  come  near  me  now  ?  no 
worse  man  than  Sir  Toby  to  look  to  me  !  This  con-  70 
curs  directly  with  the  letter ;  she  sends  him  on  pur- 
pose, that  I  may  appear  stubborn  to  him,  for  she 
incites  me  to  that  in  the  letter.  '  Cast  thy  humble 
slough,'  says  she  ;  '  be  opposite  with  a  kinsman,  surly 
with  servants ;  let  thy  tongue  tang  with  arguments 
of  state ;  put  thyself  into  the  trick  of  singularity ; ' 
and  consequently  sets  down  the  manner  how :  as,  a 
sad  face,  a  reverend  carriage,  a  slow  tongue,  in  the 
habit  of  some  sir  of  note,  and  so  forth.  I  have  limed 
her  ;  but  it  is  Jove's  doing,  and  Jove  make  me  thank-  80 
ful !  And  when  she  went  away  now, '  Let  this  fellow 
be  looked  to;'  fellow!  not  Malvolio,  nor  after  my 
degree,  but  fellow.  Why,  every  thing  adheres  to- 
gether, that  no  dram  of  a  scruple,  no  scruple  of  a 
scruple,  no  obstacle,  no  incredulous  or  unsafe  cir- 
cumstance,—  what  can  be  said?  Nothing  that  can 
be  can  come  between  me  and  the  full  prospect  of  my 
hopes.  Well,  Jove,  not  I,  is  the  doer  of  this,  and  he 
is  to  be  thanked. 

Re-enter  MARIA,  with  SIR  TOBY  and  FABIAN 

Sir  Toby.   Which    way    is    he,  in    the    name    of  90 
sanctity?     If    all    the  devils  of    hell   be  drawn  in    ( 
little   and   Legion  himself   possessed  him,  yet    I  '11 
speak  to  him. 


88  Twelfth  Night  [Act  in 

Fabian.  Here  he  is,  here  he  is.  —  How  is  't  with 
you,  sir  ?  how  is  't  with  you,  man  ? 

Malvolio.  Go  off ;  I  discard  you.  Let  me  enjoy 
my  private  ;  go  off. 

Maria.  Lo,  how  hollow  the  fiend  speaks  within 
him  !  did  not  I  tell  you  ?  —  Sir  Toby,  my  lady  prays 
you  to  have  a  care  of  him.  100 

Malvolio.   Ah,  ha!  does  she  so? 

Sir  Toby.   Go  to,  go  to ;   peace,  peace !  we  must 
deal  gently  with  him  ;  let  me  alone.  —  How  do  you,  r\ 
Malvolio  ?    how  is  't  with   you  ?     What,  man !  defy    ' 
the  devil ;  consider,  he  's  an  enemy  to  mankind. 

Malvolio.    Do  you  know  what  you  say  ? 

Maria.  La  you,  an  you  speak  ill  of  the  devil,  how 
he  takes  it  at  heart !  Pray  God,  he  be  not  be- 
witched ! 

Fabian.    Carry  his  water  to  the  wise  woman.  no 

Maria.  Marry,  and  it  shall  be  done  to-morrow 
morning,  if  I  live.  My  lady  would  not  lose  him  for 
more  than  I  '11  say. 

Malvolio.    How  now,  mistress  ! 

Maria.   O  Lord ! 

Sir  Toby.  Prithee,  hold  thy  peace ;  this  is  not 
the  way ;  do  you  not  see  you  move  him  ?  let  me 
alone  with  him. 

Fabian.  No  way  but  gentleness ;  gently,  gently ! 
the  fiend  is  rough  and  will  not  be  roughly  used.  120 

Sir  Toby.  Why,  how  now,  my  bawcock  1  how  dost 
thou,  chuck? 


Scene  IV]  Twelfth    Night  $f 

Malvolio.    Sir! 

Sir  Toby.   Ay,  Biddy,  come  with  me.     What,  man  !    / 
't  is  not  for  gravity  to  play  at  cherry-pit  with  Satan. 
Hang  him,  foul  collier ! 

Maria.  Get  him  to  say  his  prayers,  good  Sir 
Toby,  get  him  to  pray. 

Malvolio.    My  prayers,  minx ! 

Maria.    No,  I  warrant  you,  he  will  not  hear  of  130 
godliness. 

Malvolio.  Go,  hang  yourselves  all !  you  are  idle 
shallow  things.  I  am  not  of  your  element ;  you 
shall  know  more  hereafter.  \Exit. 

Sir  Toby.    Is  't  possible  ? 

Fabian.  If  this  were  played  upon  a  stage  now,  I 
could  condemn  it  as  an  improbable  fiction. 

Sir  Toby.  His  very  genius  hath  taken  the  infection 
of  the  device,  man. 

Maria.    Nay,  pursue  him  now,  lest  the  device  take  140 
air  and  taint. 

Fabian.   Why,  we  shall  make  him  mad  indeed. 

Maria.   The  house  will  be  the  quieter. 

Sir  Toby.    Come,  we  '11  have  him  in  a  dark  room 
and  bound.     My  niece  is  already  in  the  belief  that 
he  's  mad.     We  may  carry  it  thus,  for  our  pleasure 
and   his   penance,  till  our  very  pastime,  tired   out  ^ 
of  breath,  prompt  us  to  have  mercy  on  him ;    at 
which  time  we  will  bring  the  device  to  the  bar,  and 
crown  thee  for  a  finder  of  madmen.     But  see,  but  150 
see. 


90  Twelfth  Night  [Actm 

Enter  SIR  ANDREW 

Fabian.   More  matter  for  a  May  morning. 

Sir  Andrew.  Here  's  the  challenge,  read  it ;  I 
warrant  there  's  vinegar  and  pepper  in  't. 

Fabian.    Is  't  so  saucy  ? 

Sir  Andrew.    Ay,  is  \  I  warrant  him ;  do  but  read. 

Sir  Toby.  Give  me.  [Reads]  '  Youth,  whatever  thou 
art,  thou  art  but  a  scurvy  fellow.'' 

Fabian.    Good,  and  valiant. 

Sir  Toby.    [Reads]  '  Wonder  not,  nor  admire  not  in  160 
thy  mind,  why  I  do  call  thee  so,  for  I  will  show  thee  no  • 
reason  for  '/.' 

Fabian.  A  good  note ;  that  keeps  you  from  the 
blow  of  the  law. 

Sir  Toby.  [Reads]  *  Thou  earnest  to  the  Lady  Olivia, 
and  in  my  sight  she  uses  thee  kindly.  But  thou  liest  in 
thy  throat ;  that  is  not  the  matter  I  challenge  thee  for? 

Fabian.  Very  brief,  and  to  exceeding  good  sense 
—  less. 

Sir  Toby.    [Reads]  *  2 'will  waylay  thee  going  home,  170 
where  if  it  be  thy  chance  to  kill  me?  — 

Fabian.   Good. 

Sir  Toby.  [Reads]  '  Thou  killest  me  like  a  rogue  and 
a  villain} 

Fabian.  Still  you  keep  o'  the  windy  side  of  the  law ; 
good. 

Sir  Toby.  [Reads]  '  Fare  thee  well ;  and  God  have 
mercy  upon  one  of  our  souls !  He  may  have  mercy 


Scene  IV]  Twelfth    Night  91 

upon  mine ;  but  my  hope  is  better,  and  so  look  to  thy- 
self.    Thy  friend,  as  thou  usest  him,  and  thy  sworn  180 
enemy,      ANDREW  AGUECHEEK.' 
If  this  letter  move  him  not,  his  legs  cannot ;   I  '11 
give  't  him. 

Maria.  You  may  have  very  fit  occasion  for  't ;  he 
is  now  in  some  commerce  with  my  lady,  and  will 
by  and  by  depart. 

Sir  Toby.    Go,  Sir  Andrew ;  scout  me  for  him  at    ^ 
the  corner  of  the  orchard  like  a  bum-baily.     So  soon  \ 
as  ever  thou  seest  him,  draw,  and,  as  thou  drawest, 
swear  horrible  ;  for  it  comes  to  pass  oft  that  a  terri- 190 
ble  oath,  with  a  swaggering  accent  sharply  twanged 
off,   gives    manhood    more   approbation   than   ever 
proof  itself  would  have  earned  him.     Away ! 

Sir  Andrew.    Nay,  let  me  alone  for  swearing.    \_Exit. 

Sir  Toby.  Now  will  not  I  deliver  his  letter,  for  the 
behaviour  of  the  young  gentleman  gives  him  out  to 
be  of  good  capacity  and  breeding ;  his  employment 
between  his  lord  and  my  niece  confirms  no  less. 
Therefore  this  letter,  being  so  excellently  ignorant, 
will  breed  no  terror  in  the  youth ;  he  will  find  it  200 
comes  from  a  clodpole.  But,  sir,  I  will  deliver  his 
challenge  by  word  of  mouth,  set  upon  Aguecheek  a 
notable  report  of  valour,  and  drive  the  gentleman,  as 
I  know  his  youth  will  aptly  receive  it,  into  a  most 
hideous  opinion  of  his  rage,  skill,  fury,  and  impetu- 
osity. This  will  so  fright  them  both  that  they  will 
kill  one  another  by  the  look,  like  cockatrices. 


92  Twelfth  Night  [Act  m 

Re-enter  OLIVIA  with  VIOLA 

Fabian.   Here  he  comes  with  your  niece ;    give 
them  way  till  he  take  leave,  and  presently  after  him. 

Sir  Toby.    I  will  meditate  the  while  upon   some  210 
horrid  message  for  a  challenge. 

\Exeunt  Sir  Toby,  Fabian,  and  Maria. 
Olivia.    I    have    said    too   much  unto    a   heart    of 

stone, 

And  laid  mine  honour  too  unchary  on  't. 
There  's  something  in  me  that  reproves  my  fault, 
But  such  a  headstrong  potent  fault  it  is 
That  it  but  mocks  reproof. 

Viola.   With   the    same   haviour  that  your    passion 

bears 
Goes  on  my  master's  grief. 

Olivia.    Here,  wear  this  jewel  for  me,  't  is  my  picture. 
'  Refuse  it  not,  it  hath  no  tongue  to  vex  you  ;  220 

And  I  beseech  you  come  again  to-morrow. 
What  shall  you  ask  of  me  that  I  '11  deny, 
That  honour  sav'd  may  upon  asking  give  ? 

Viola.    Nothing   but  this,  —  your  true  love   for  my 

master. 

Olivia.   How  with  mine  honour  may  I  give  him  that 
Which  I  have  given  to  you  ? 

Viola.  I  will  acquit  you. 

Olivia.   Well,  come    again    to-morrow.      Fare    thee 

well ; 

A  fiend  like  thee  might  bear  my  soul  to  hell.          \Exit. 
> 


Scene  IV]  Twelfth    Night  93 


Re-enter  SIR  TOBY  and  FABIAN 

Sir  Toby.    Gentleman,  God  save  thee. 

Viola.    And  you,  sir.  230 

Sir  Toby.    That  defence   thou  hast,  betake   thee 
to  't.    Of  what  nature  the  wrongs  are  thou  hast  done 
him,  I  know  not ;  but  thy  intercepter,  full  of  despite, 
bloody  as  the  hunter,  attends  thee  at  the  orchard-end,  ft 
Dismount  thy  tuck,  be  yare  in  thy  preparation,  for     1 
thy  assailant  is  quick,  skilful,  and  deadly. 

Viola.  You  mistake,  sir,  I  am  sure  no  man  hath 
any  quarrel  to  me  ;  my  remembrance  is  very  free  and 
clear  from  any  image  of  offence  done  to  any  man. 

Sir  Toby.   You  '11  find  it  otherwise,  I  assure  you ;  240 
therefore,  if  you  hold  your  life  at  any  price,  betake 
you  to  your  guard,  for  your  opposite  hath  in  him  what 
youth,  strength,  skill,  and  wrath   can   furnish  man 
withal. 

Viola.    I  pray  you,  sir,  what  is  he  ? 

Sir  Toby.  He  is  knight,  dubbed  with  unhatched 
rapier  and  on  carpet  consideration,  but  he  is  a  devil 
in  private  brawl ;  souls  and  bodies  hath  he  divorced 
three,  and  his  incensement  at  this  moment  is  so  im- 
placable that  satisfaction  can  be  none  but  by  pangs  250 
of  death  and  sepulchre.  Hob,  nob,  is  his  word ; 
give  't  or  take  't. 

Viola.  I  will  return  again  into  the  house  and  desire 
some  conduct  of  the  lady.  I  am  no  fighter.  I  have 
heard  of  some  kind  of  men  that  put  quarrels  pur- 


94  Twelfth  Night  [Actm 

posely  on  others,  to  taste  their  valour ;  belike  this  is 
a  man  of  that  quirk. 

Sir  Toby.  Sir,  no ;  his  indignation  derives  itself  out 
of  a  very  competent  injury ;  therefore,  get  you  on  and 
give  him  his  desire.  Back  you  shall  not  to  the  house,  260 
unless  you  undertake  that  with  me  which  with  as 
much  safety  you  might  answer  him  ;  therefore,  on,  or 
strip  your  sword  stark  naked,  for  meddle  you  must, 
that 's  certain,  or  forswear  to  wear  iron  about  you. 

Viola.  This  is  as  uncivil  as  strange.  I  beseech 
you,  do  me  this  courteous  office,  as  to  know  of  the 
knight  what  my  offence  to  him  is ;  it  is  something 
of  my  negligence,  nothing  of  my  purpose. 

Sir  Toby.  I  will  do  so.  —  Signior  Fabian,  stay  you 
by  this  gentleman  till  my  return.  [Exit.  270 

Viola.    Pray  you,  sir,  do  you  know  of  this  matter  ? 

Fabian.  I  know  the  knight  is  incensed  against  you, 
even  to  a  mortal  arbitrement,  but  nothing  of  the  cir- 
cumstance more. 

Viola.  I  beseech  you,  what  manner  of  man  is 
he? 

Fabian.  Nothing  of  that  wonderful  promise,  to  read 
him  by  his  form,  as  you  are  like  to  find  him  in  the 
proof  of  his  valour.  He  is,  indeed,  sir,  the  most 
skilful,  bloody,  and  fatal  opposite  that  you  could  280 
possibly  have  found  in  any  part  of  Illyria.  Will  you 
walk  towards  him  ?  I  will  make  your  peace  with  him 
if  I  can. 

Viola.    I  shall  be  much  bound  to  you  for  't.    I  am 


Scene  iv]  Twelfth  Night  95 

one  that  had  rather  go  with  sir  priest  than  sir  knight ; 
I  care  not  who  knows  so  much  of  my  mettle.     \Exeunt. 

Re-enter  SIR  TOBY,  with  SIR  ANDREW 

Sir  Toby.  Why,  man,  he  's  a  very  devil ;  I  have  not 
seen  such  a  firago.  I  had  a  pass  with  him,  rapier, 
scabbard,  and  all,  and  he  gives  me  the  stuck  in  with 
such  a  mortal  motion  that  it  is  inevitable  ;  and  on  the  290 
answer,  he  pays  you  as  surely  as  your  feet  hit  the 
ground  they  step  on.  They  say  he  has  been  fencer 
to  the  Sophy. 

Sir  Andrew.    Pox  on  't,  I  '11  not  meddle  with  him. 

Sir  Toby.  Ay,  but  he  will  not  now  be  pacified; 
Fabian  can  scarce  hold  him  yonder. 

Sir  Andrew.    Plague  on  't,  an  I  thought  he  had 
been  valiant  and  so  cunning  in  fence,  I  'd  have  se£n 
him  damned  ere  I  'd  have  challenged  him.    Let  him 
let  the  matter  slip,  and  I  '11  give  him  my  horse,  grey  300 
Capilet. 

Sir  Toby.  I  '11  make  the  motion.  Stand  here,  make 
a  good  show  on  't ;  this  shall  end  without  the  perdir 
tion  of  souls.  [Aside]  Marry,  I  '11  ride  your  horse  as 
well  as  I  ride  you.  — • 

Re-enter  FABIAN  and  VIOLA 

\To  Fabian]  I  have  his  horse  to  take  up  the  quarrel ; 
I  have  persuaded  him  the  youth  's  a  devil. 

Fabian.  He  is  as  horribly  conceited  of  him,  and 
pants  and  looks  pale,  as  if  a  bear  were  at  his  heels. 


96  Twelfth  Night  [Actm 

Sir  Toby.  \To  Viola~\  There  's  no  remedy,  sir;  he  310 
will  fight  with  you  for  's  oath  sake.  Marry,  he  hath 
better  bethought  him  of  his  quarrel,  and  he  finds  that 
now  scarce  to  be  worth  talking  of ;  therefore  draw, 
for  the  supportance  of  his  vow ;  he  protests  he  will 
not  hurt  you. 

Viola.  \Aside\  Pray  God  defend  me  1  A  little 
thing  would  make  me  tell  them  how  much  I  lack 
of  a  man. 

Fabian.   Give  ground,  if  you  see  him  furious. 

Sir  Toby.    Come,  Sir  Andrew,  there  's  no  remedy ;  320 
the  gentleman  will,  for  his  honour's  sake,  have  one 
bout  with  you.     He  cannot  by  the  duello  avoid  it ; 
but  he  has  promised  me,  as  he  is  a  gentleman  and  a 
soldier,  he  will  not  hurt  you.     Come  on  ;  to  't. 

Sir  Andrew.    Pray  God,  he  keep  his  oath  1 

Viola.   I  do  assure  you,  't  is  against  my  will.     \They 
draw. 

Enter  ANTONIO 

Antonio.   Put  up  your  sword.     If  this  young  gentle- 
man 

Have  done  offence,  I  take  the  fault  on  me ; 
If  you  offend  him,  I  for  him  defy  you. 

Sir  Toby.    You,  sir !  why,  what  are  you  ?  330 

Antonio.   One,  sir,  that  for   his    love   dares  yet  do 

more 
Than  you  have  heard  him  brag  to  you  he  will. 

Sir  Toby.    Nay,  if  you  be  an  undertaker,  I  am 
for  you.  [They  draw. 


Scene  IV]  *  Twelfth   Night  97 


Enter  Officers 

Fabian.  O  good  Sir  Toby,  hold !  here  come  the 
officers. 

Sir  Toby.    I  '11  be  with  you  anon. 

Viola.    Pray,  sir,  put  your  sword  up,  if  you  please. 

Sir  Andrew.  Marry,  will  I,  sir,  and,  for  that  I 
promised  you,  I  '11  be  as  good  as  my  word ;  he  will 
bear  you  easily  and  reins  well.  341 

1  Officer.    This  is  the  man  ;  do  thy  office. 

2  Officer.   Antonio,  I  arrest  thee   at  the  suit   of 
Count  Orsino. 

Antonio.   You  do  mistake  me,  sir. 

1  Officer.    No,  sir,  no  jot ;  I  know  your  favour  well, 
Though  now  you  have  no  sea-cap  on  your  head.  — 
Take  him  away ;  he  knows  I  know  him  well. 

Antonio.    I  must  obey.  —  \To  Viold\  This  comes  with 

seeking  you. 

But  there  's  no  remedy  ;  I  shall  answer  it.  350 

What  will  you  do,  now  my  necessity 
Makes  me  to  ask  you  for  my  purse  ?     It  grieves  me 
Much  more  for  what  I  cannot  do  for  you 
Than  what  befalls  myself.     You  stand  amaz'd ; 
But  be  of  comfort. 

2  Officer.    Come,  sir,  away. 

Antonio.    I  must  entreat  of  you  some  of  that  money. 

Viola.    What  money,  sir  ? 

For  the  fair  kindness  you  have  show'd  me  here,          359 
And,  part,  being  prompted  by  your  present  trouble, 

TWELFTH    NIGHT  —  7 


98  Twelfth   Night  -      [Act  ill 

Out  of  my  lean  and  low  ability 
I  '11  lend  you  something.     My  having  is  not  much ; 
I  '11  make  division  of  my  present  with  you. 
Hold,  there  's  half  my  coffer. 

Antonio.  Will  you  deny  me  now  ? 

Is  't  possible  that  my  deserts  to  you 
Can  lack  persuasion  ?     Do  not  tempt  my  misery, 
Lest  that  it  make  me  so  unsound  a  man 
As  to  upbraid  you  with  those  kindnesses 
That  I  have  done  for  you. 

Viola.  I  know  of  none, 

Nor  know  I  you  by  voice  or  any  feature.  370 

I  hate  ingratitude  more  in  a  man 
Than  lying,  vainness,  babbling  drunkenness, 
Or  any  taint  of  vice  whose  strong  corruption 
Inhabits  our  frail  blood. 

Antonio.  O  heavens  themselves  t 

2  Officer.    Come,  sir,  I  pray  you,  go. 

Antonio.   Let  me  speak  a  little.     This  youth  that  you 

see  here 

I  snatch'd  one  half  out  of  the  jaws  of  death, 
Reliev'd  him  with  such  sanctity  of  love, 
And  to  his  image,  which  methought  did  promise 
Most  venerable  worth,  did  I  devotion.  380 

i  Officer.    What 's  that  to  us  ?     The  time  goes  by ; 
away! 

Antonio.    But,  O,  how  vile  an  idol  proves  this  god !  — 
Thou  hast,  Sebastian,  done  good  feature  shame.  — 
In  nature  there  's  no  blemish  but  the  mind ; 


Scene  IV]  Twelfth    Night  99 

None  can  be  call'd  deform 'd  but  the  unkind. 
Virtue  is  beauty,  but  the  beauteous-evil 
Are  empty  trunks  o'erflourish'd  by  the  devil. 

i  Officer.  The  man  grows  mad ;  away  with  him ! 
—  Come,  come,  sir. 

Antonio.   Lead  me  on.  \_Exit  with  Officers. 

Viola.    Methinks   his  words  do  from  such   passion 

fly  391 

That  he  believes  himself ;  so  do  not  I. 
Prove  true,  imagination,  O,  prove  true, 
That  I,  dear  brother,  be  now  ta'en  for  you ! 

Sir  Toby.  Come  hither,  knight,  —  come  hither, 
Fabian ;  —  we  '11  whisper  o'er  a  couplet  or  two  of 
most  sage  saws. 

Viola.    He  nam'd  Sebastian.     I  my  brother  know  J 
Yet  living  in  my  glass  ;  even  such  and  so 
In  favour  was  my  brother,  and  he  went  400 

Still  in  this  fashion,  colour,  ornament, 
For  him  I  imitate.     O,  if  it  prove, 
Tempests  are  kind,  and  salt  waves  fresh  in  love! 

{Exit. 

Sir  Toby.  A  very  dishonest,  paltry  boy,  and  more 
a  coward  than  a  hare ;  his  dishonesty  appears  in 
leaving  his  friend  here  in  necessity  and  denying 
him,  and  for  his  cowardship,  ask  Fabian.  % 

Fabian.   A  coward,  a  most  devout  coward,  religious  ^ 
in  it.  409 

Sir  Andrew.  'Slid,  I  '11  after  him  again  and  beat 
him. 


ioo                       Twelfth  Night  [Act  m 

Sir  Toby.  Do ;  cuff  him  soundly,  but  never  draw 
thy  sword. 

Sir  Andrew.    An  I  do  not,  —  \Exit. 

Fabian.    Come,  let  's  see  the  event. 

Sir  Toby.  I  dare  lay  any  money  't  will  be  nothing 

yet.  [Exeunt. 


PROPERTY  OF 


EPARTME 


ACT  IV 

SCENE  I.     Before  Olivia's  House 

Enter  SEBASTIAN  and  Clown 

Clown.   Will  you  make  me  believe  I  am  not  sent 
for  you  ? 

Sebastian.   Go  to,  go  to,  thou  art  a  foolish  fellow ; 
Let  me  be  clear  of  thee. 

Clown.  Well  held  out,  i'  faith !  No,  I  do  not  know 
you ;  nor  I  am  not  sent  to  you  by  my  lady,  to  bid 
you  come  speak  with  her ;  nor  your  name  is  not 
Master  Cesario ;  nor  this  is  not  my  nose  neither. 
Nothing  that  is  so  is  so. 

Sebastian.  I  prithee,  vent  thy  folly  somewhere  else ; 
Thou  know'st  not  me.  n 

10  r 


102  Twelfth  Night  [Activ 

Clown.  Vent  my  folly !  he  has  heard  that  word  of 
some  great  man,  and  now  applies  it  to  a  fool.  Vent  r*> 
my  folly !  I  am  afraid  this  great  lubber,  the  world, 
will  prove  a  cockney.  —  I  prithee  now,  ungird  thy 
strangeness,  and  tell  me  what  I  shall  vent  to  my 
lady  ;  shall  I  vent  to  her  that  thou  art  coming  ?  ^ 

Sebastian.  I  prithee,  foolish  Greek,  depart  from  me.  ^ 
There  's  money  for  thee ;  if  you  tarry  longer, 
I  shall  give  worse  payment.  20 

Clown.    By  my  troth,  thou  hast  an  open  hand.  — 
T^se  wise  men   that   give  fools  money  get  them-   w 
selves  a  good*  report  —  after   fourteen  years'   pur-    ^ 
chase. 

Enter  SIR  ANDREW,  SIR  TOBY,  and  FABIAN 

Sir  Andrew.  Now,  sir,  have  I  met  you  again  ? 
there  's  for  you. 

Sebastian.   Why,  there  's   for  thee,   and   there,  and 

there,  and  there. 
Are  all  the  people  mad  ? 

Sir  Toby.  Hold,  sir,  or  I  '11  throw  your  dagger 
o'er  the  house.  3° 

Clown.  This  will  I  tell  my  lady  straight ;  I  would 
not  be  in  some  of  your  coats  for  two  pence.  [Exit. 

Sir  Toby.    Come  on,  sir ;  hold. 

Sir  Andrew.  Nay,  let  him  alone.  I  '11  go  another 
way  to  work  with  him  ;  I  '11  have  an  action  of  battery 
against  him,  if  there  be  any  law  in  Illyria.  Though 
I  struck  him  first,  yet  it  's  no  matter  for  that. 


Scene  I]  Twelfth   Night  103 

Sebastian.    Let  go  thy  hand. 

Sir  Toby.    Come,  sir,  I  will  not  let  you  go.     Come,      3 
my  young  soldier,  put  up  your  iron.     You  are  well  40 
fleshed  ;  come  on. 

Sebastian.    I  will  be  free  from  thee.     What  wouldst 

thou  now  ? 
If  thou  dar'st  tempt  me  further,  draw  thy  sword. 

Sir  Toby.    What,  what  ?     Nay,  then  I  must  have 
an  ounce  or  two  of  this  malapert  blood  from  you. 

Enter  OLIVIA 

Olivia.    Hold,  Toby  ;  on  thy  life  I  charge  thee,  hold  ! 

Sir  Toby.    Madam  ! 

Olivia.    Will  it  be  ever  thus  ?    Ungracious  wretch, 
Fit  for  the  mountains  and  the  barbarous  caves 
Where    manners    ne'er    were    preach'd !    out    of    my 
sight !  —  50 

Be  not  offended,  dear  Cesario.  — 
Rudesby,  be  gone  !  — 

\Exeunt  Sir  Toby,  Sir  Andrew,  and  Fabian. 

I  prithee,  gentle  friend, 
Let  thy  fair  wisdom,  not  thy  passion,  sway 
In  this  uncivil  and  unjust  extent 
Against  thy  peace.     Go  with  me  to  my  house, 
And  hear  thou  there  how  many  fruitless  pranks 
This  ruffian  hath  botch 'd  up,  that  thou  thereby 
Mayst  smile  at  this.     Thou  shalt  not  choose  but  go  ; 
Do  not  deny.     Beshrew  his  soul  for  me, 
He  started  one  poor  heart  of  mine  in  thee.  60 


104  Twelfth   Night  [Activ 

Sebastian.    What    relish  is    in    this  ?    how  runs    the 

stream  ? 

Or  I  am  mad,  or  else  this  is  a  dream. 
Let  fancy  still  my  sense  in  Lethe  steep ; 
If  it  be  thus  to  dream,  still  let  me  sleep ! 

Olivia.    Nay,   come,   I  prithee ;  would  thou  'dst  be 

rul'd  by  me ! 

Sebastian.    Madam,  I  will. 
Olivia.  O,  say  so,  and  so  be  !     [Exeunt. 

SCENE  II.     Olivia's  House 
'Enter  MARIA  and  Clown 

Maria.  Nay,  I  prithee,  put  on  this  gown  and  this 
beard,  make  him  believe  thou  art  Sir  Topas  the  curate. 
Do  it  quickly ;  I  '11  call  Sir  Toby  the  whilst.  [Exit. 

Clown.  Well,  I  '11  put  it  on,  and  I  will  dissemble 
myself  in  't ;  and  I  would  I  were  the  first  that  ever 
dissembled  in  such  a  gown.  I  am  not  tall  enough  to 
become  the  function  well,  nor  lean  enough  to  be 
thought  a  good  student ;  but  to  be  said  an  honest 
man  and  a  good  housekeeper  goes  as  fairly  as  to  say 
a  careful  man  and  a  great  scholar.  The  competitors  10 
enter. 

Enter  SIR  TOBY  and  MARIA 

Sir  Toby.   Jove  bless  thee,  master  Parson. 

Clown.  Bonos  dies,  Sir  Toby ;  for,  as  the  old  her- 
mit of  Prague  that  never  saw  pen  and  ink  very  wittily 
said  to  a  niece  of  King  Gorboduc,  *  That  that  is  is,' 


Scene  II]  Twelfth    Night  105 

so  I,  being  master  Parson,  am  master  Parson  ;  for, 
what  is  that  but  that,  and  is  but  is  ? 

Sir  Toby.    To  him,  Sir  Topas. 

Clown.   What,  ho,  I  say !  peace  in  this  prison ! 

Sir  Toby.    The  knave  counterfeits  well ;    a   good  20 
knave ! 

Malvolio.    \Within\  Who  calls  there  ? 

Clown.  Sir  Topas  the  curate,  who  comes  to  visit 
Malvolio  the  lunatic. 

Malvolio.  Sir  Topas,  Sir  Topas,  good  Sir  Topas, 
go  to  my  lady. 

Clown.  Out,  hyperbolical  fiend  1  how  vexest  thou 
this  man  !  talkest  thou  nothing  but  of  ladies  ? 

Sir  Toby.    Well  said,  master  Parson. 

Malvolio.    Sir  Topas,  never  was  man  thus  wronged.  30 
Good  Sir  Topas,  do  not  think  I  am  mad ;  they  have 
laid  me  here  in  hideous  darkness. 

Clown.  Fie,  thou  dishonest  Satan  !  I  call  thee  by 
the  most  modest  terms,  for  I  am  one  of  those  gentle 
ones  that  will  use  the  devil  himself  with  courtesy ; 
sayest  thou  that  house  is  dark  ? 

Malvolio.    As  hell,  Sir  Topas. 

Clown.    Why,  it  hath  bay-windows  transparent  as 
barricadoes,  and  the  clear-stores  towards  the  south- 
north  are  as  lustrous  as  ebony ;  and  yet  com  plainest  40 
thou  of  obstruction  ? 

Malvolio.  I  am  not  mad,  Sir  Topas  ;  I  say  to  you, 
this  house  is  dark. 

Clown.    Madman,  thou  errest;  I  say,  there  is  no 


io6  Twelfth  Night  [Activ 

darkness  but   ignorance,   in   which    thou  art   more 
puzzled  than  the  Egyptians  in  their  fog. 

Malvolio.    I  say  this  house  is  as  dark  as  ignorance, 
though  ignorance  were  as  dark  as  hell ;  and  I  say 
there  was  never  man  thus  abused.     I  am  no  more 
mad  than  you  are ;  make  the  trial  of  it  in  any  con-  50 
stant  question. 

Clown.    What  is  the  opinion  of  Pythagoras  con- 
cerning wild  fowl  ? 

Malvolio.    That  the   soul  of  our  grandam  might 
happily  inhabit  a  bird. 

Clown.    What  thinkest  thou  of  his  opinion  ? 

Malvolio.    I  think  nobly  of  the  soul,  and  no  way 
approve  his  opinion. 

Clown.    Fare   thee   well.      Remain    thou   still   in 
darkness  ;  thou  shalt  hold  the  opinion  of  Pythagoras  60 
ere  I  will  allow  of  thy  wits,  and  fear  to  kill  a  wood- 
cock lest  thou  dispossess  the  soul  of  thy  grandam. 
Fare  thee  well. 

Malvolio.    Sir  Topas,  Sir  Topas  ! 

Sir  Toby.   My  most  exquisite  Sir  Topas  ! 

Clown.    Nay,  I  am  for  all  waters. 

Maria.    Thou  mightst  have  done  this  without  thy 
beard  and  gown ;  he  sees  thee  not. 

Sir  Toby.    To  him  in  thine  own  voice,  and  bring 
me  word  how  thou  findest  him ;   I  would  we  were  70 
well  rid  of  this  knavery.     If  he  may  be  conveniently 
delivered,  I  would  he  were,  for  I  am  now  so  far  in 
offence  with  my  niece  that  I  cannot  pursue  with  any 


Scene  II]  Twelfth    Night  107 

safety  this  sport  to  the  upshot.     Come  by  and  by  to 
my  chamber.  \Exeunt  Sir  Toby  and  Maria. 

Clown.  [Singing]  'Hey,  Robin,  jolly  Robin, 

Tell  me  how  thy  lady  does? 

Malvolio.    Fool ! 

Clown.    '  My  lady  is  unkind,  per dy? 

Malvolio.    Fool !  80 

Clown.    '  Alas,  why  is  she  so  ?  ' 

Malvolio.    Fool,  I  say. 

Clown.   *  She  loves  another '  —  Who  calls,  ha  ? 

Malvolio.  Good  fool,  as  ever  thou  wilt  deserve  well 
at  my  hand,  help  me  to  a  candle,  and  pen,  ink,  and 
paper ;  as  I  am  a  gentleman,  I  will  live  to  be  thank- 
ful to  thee  for  't. 

Clown.    Master  Malvolio  ? 

Malvolio.    Ay,  good  fool. 

Clown.    Alas,  sir,  how  fell  you  besides  your  five  90 
wits? 

Malvolio.  Fool,  there  was  never  man  so  notori- 
ously abused  ;  I  am  as  well  in  my  wits,  fool,  as  thou  art. 

Clown.  But  as  well  ?  then  you  are  mad  indeed,  if 
you  be  no  better  in  your  wits  than  a  fool. 

Malvolio.  They  have  here  propertied  me  ;  keep  me 
in  darkness,  send  ministers  to  me,  asses,  and  do  all 
they  can  to  face  me  out  of  my  wits. 

Clown.    Advise  you  what  you  say ;  the  minister  is 
here. — Malvolio,    Malvolio,   thy    wits   the   heavens  100 
restore !    endeavour  thyself  to  sleep,  and  leave  thy 
vain  bibble  babble. 


io8  Twelfth  Night  [Activ 

Malvolio.   Sir  Topas  1 

Clown.   Maintain  no  words  with  him,  good  fellow. 
—  Who,  I,  sir  ?  not  I,  sir.     God  be  wi'  you,  good  Sir 
Topas.  —  Marry,  amen.  —  I  will,  sir,  I  will. 
Malvolio.    Fool,  fool,  fool,  I  say ! 
Clown.    Alas,  sir,  be  patient.     What  say  you,  sir  ? 
I  am  shent  for  speaking  to  you. 

Malvolio.   Good  fool,  help  me  to  some  light  and  no 
some  paper  ;  I  tell  thee,  I  am  as  well  in  my  wits  as 
any  man  in  Illyria. 

Clown.   Well-a-day  that  you  were,  sir ! 
Malvolio.   By  this  hand,  I  am. .   Good  fool,  some 
ink,  paper,  and  light ;  and  convey  what  I  will  set 
down  to  my   lady.     It  shall  advantage  thee  more 
than  ever  the  bearing  of  letter  did. 

Clown.   I  will  help  you  to  't.     But  tell  me  true,  are 
you  not  mad  indeed  ?  or  do  you  but  counterfeit  ? 

Malvolio.   Believe -me  I  am  not;  I  tell  thee  true.     120 
Clown.   Nay,  I  '11  ne'er  believe  a  madman  till  I  see 
his  brains.     I  will  fetch  you  light  and  paper  and  ink. 
Malvolio.    Fool,  I  '11  requite  it  in  the  highest  de- 
gree; I  prithee,  be  gone. 
Clown.  [Singing] 

/  am  gone,  sir, 
And  anon,  sir, 

1 7/  be  with  you  again 
In  a  trice, 

Like  to  the  old  Vice,  130 

Your  need  to  sustain  ; 


Scene  III] 


Twelfth  Night 


109 


Who,  with  dagger  of  lath, 
In  his  rage  and  his  wrath, 

Cries,  ah,  ha  !  to  the  devil: 
Like  a  mad  lad, 
Pare  thy  nails,  dad  ; 

Adieu,  goodman  devil.  [Exit. 

SCENE   III.     Olivia's  Garden 

Enter  SEBASTIAN 

Sebastian.   This    is    the    air ;    that    is    the    glorious 

sun; 

This  pearl  she  gave  me,  I  do  feel  't  and  see  't ; 
And  though  't  is  wonder  that  enwraps  me  thus, 
Yet  't  is  not  madness.     Where  's  Antonio,  then  ? 
I  could  not  find  him  at  the  Elephant ; 
Yet  there  he  was,  and  there  I  found  this  credit, 
That  he  did  range  the  town  to  seek  me  out. 
His  counsel  now  might  do  me  golden  service, 
For  though  my  soul  disputes  well  with  my  sense  ^ 
That  this  may  be  some  error,  but  no  madness,  10 

Yet  doth  this  accident  and  flood  of  fortune 
So  far  exceed  all  instance,  all  discourse, 
That  I  am  ready  to  distrust  mine  eyes 
And  wrangle  with  my  reason  that  persuades  me 
To  any  other  trust  but  that  I  am  mad 
Or  else  the  lady  's  mad ;  yet,  if  't  were  so, 
She    could    not   sway   her  house,  command    her   fol- 
lowers, 


no  Twelfth  Night  [Activ 

Take  and  give  back  affairs  and  their  dispatch 
With  such  a  smooth,  discreet,  and  stable  bearing 
As  I  perceive  she  does.     There  's  something  in  't       20 
That  is  deceivable.  —  But  here  the  lady  comes. 

Enter  OLIVIA  and  Priest 

Olivia.    Blame  not  this  haste  of  mine.     If  you  mean 

well, 

Now  go  with  me  and  with  this  holy  man 
Into  the  chantry  by  ;  there,  before  him, 
And  underneath  that  consecrated  roof, 
Plight  me  the  full  assurance  of  your  faith, 
That  my  most  jealous  and  too  doubtful  soul 
May  live  at  peace.     He  shall  conceal  it 
Whiles  you  are  willing  it  shall  come  to  note, 
What  time  we  will  our  celebration  keep  30 

According  to  my  birth.  — What  do  you  say  ? 

Sebastian.    I  '11   follow  this  good  man  and  go  with 

you, 
And,  having  sworn  truth,  ever  will  be  true. 

Olivia.    Then    lead     the    way,    good    father ;     and 

heavens  so  shine, 
That  they  may  fairly  note  this  act  of  mine  !       \_Exeunt. 


'ENTER  PRIEST' 


ACT   V 

SCENE  I.     Before  Olivia's  House 

Enter  Clown  and  FABIAN 

Fabian.    Now,  as  thou  lovest  me,  let  me  see  his 
letter. 

Clown.    Good  Master  Fabian,  grant  me  another 
request. 

Fabian.    Any  thing. 

Clown.    Do  not  desire  to  see  this  letter. 

Fabia7i.    This    is,  to   give  a  dog,  and   in  recom- 
pense desire  my  dog  again. 

in 


1 12  Twelfth  Night  [Actv 

Enter  DUKE,  VIOLA,  CURIO,  and  Lords 

Duke.    Belong  you  to  the  Lady  Olivia,  friends  ? 

Clown.    Ay,  sir  ;  we  are  some  of  her  trappings.         10 

Duke.    I  know  thee  well ;  how  dost  thou,  my  good 
fellow  ? 

Clown.    Truly,  sir,  the  better  for  my  foes  and  the 
worse  for  my  friends. 

Duke.     Just    the    contrary ;    the    better   for    thy 
friends. 

Clown.    No,  sir,  the  worse. 

Duke.    How  can  that  be  ? 

Clown.  Marry,  sir,  they  praise  me  and  make  an 
ass  of  me  ;  now  my  foes  tell  me  plainly  I  am  an  ass.  20 
So  that  by  my  foes,  sir,  I  profit  in  the  knowledge  of 
myself,  and  by  my  friends  I  am  abused ;  so  that, 
conclusions  to  be  as  kisses,  if  your  four  negatives 
make  your  two  affirmatives,  why  then,  the  worse  for 
my  friends  and  the  better  for  my  foes. 

Duke.    Why,  this  is  excellent. 

Clown.    By  my  troth,  sir,  no ;  though  it  please  you 
to  be  one  of  my  friends. 

Duke.    Thou  shalt  not  be  the  worse  for  me  ;  there's 
gold.  30 

Clown.    But  that  it  would  be  double-dealing,  sir,  I 
would  you  could  make  it  another. 

Duke.   O,  you  give  me  ill  counsel. 

Clown.    Put  your  grace  in  your  pocket,  sir,  for  this  f 
once,  and  let  your  flesh  and  blood  obey  it. 


Scene  I]  Twelfth   Night  I  IJ 

Duke.  Well,  I  will  be  so  much  a  sinner  to  be  a 
double-dealer ;  there  's  another. 

Clown.    Primo,  secundo,  tertio,  is  a  good  play,  and  ^ 
the  old  saying  is,  the  third  pays  for  all.    The  triplex, 
sir,  is  a  good  tripping  measure  ;  or  the  bells  of  Saint  40 
Bennet,  sir,  may  put  you  in  mind,  —  one,  two,  three. 

Duke.    You  can  fool  no  more  money  out  of  me  at 
this  throw ;  if  you  will  let  your  lady  know  I  am  here 
to  speak  with  her,  and  bring  her  along  with  you,  it  v 
may  awake  my  bounty  further. 

Clown.  Marry,  sir,  lullaby  to  your  bounty  till  I 
come  again.  I  go,  sir,  but  I  would  not  have  you  to 
think  that  my  desire  of  having  is  the  sin  of  covetous- 
ness  ;  but,  as  you  say,  sir,  let  your  bounty  take  a 
nap,  I  will  awake  it  anon.  [Exit.  50 

Viola.   Here  comes  the  man,  sir,  that  did  rescue  me. 

Enter  ANTONIO  and  Officers 

Duke.    That  face  of  his  I  do  remember  wellv; 
Yet,  when  I  saw  it  last,  it  was  besmear'd 
As  black  as  Vulcan  in  the  smoke  of  war. 
A  bawbling  vessel  was  he  captain  of, 
For  shallow  draught  and  bulk  unprizable, 
With  which  such  scathful  grapple  did  he  make 
With  the  most  noble  bottom  of  our  fleet 
That  very  envy  and  the  tongue  of  loss  59 

Cried  fame  and  honour  on  him. — What's  the  matter? 

i  Officer.    Orsino,  this  is  that  Antonio 
That  took  the  Phoenix  and  her  fraught  from  Candy; 

TWELFTH   NIGHT — 8 


H4  Twelfth  Night  [Act  V 

And  this  is  he  that  did  the  Tiger  board, 
When  your  young  nephew  Titus  lost  his  leg. 
Here  in  the  streets,  desperate  of  shame  and  state, 
In  private  brabble  did  we  apprehend  him. 

Viola.    He  did  me  kindness,  sir,  drew  on  my  side, 
But  in  conclusion  put  strange  speech  upon  me. 
I  know  not  what  't  was  but  distraction. 

Duke.    Notable  pirate  !  thou  salt-water  thief  !  70 

What  foolish  boldness  brought  thee  to  their  mercies 
Whom  thou,  in  terms  so  bloody  and  so  dear, 
Hast  made  thine  enemies  ? 

Antonio.  Orsirio,  noble  sir, 

Be  pleas 'd  that  I  shake  off  these  names  you  give  me ; 
Antonio  never  yet  was  thief  or  pirate, 
Though  I  confess,  on  base  and  ground  enough, 
Orsino's  enemy.     A  witchcraft  drew  me  hither. 
That  most  ingrateful  boy  there  by  your  side, 
From  the  rude  sea's  enrag'd  and  foamy  mouth 
Did  I  redeem  ;  a  wrack  past  hope  he  was.  80 

His  life  I  gave  him,  and  did  thereto  add 
My  love,  without  retention  or  restraint, 
All  his  in  dedication  ;  for  his  sake 
Did  I  expose  myself,  pure  for  his  love, 
Into  the  danger  of  this  adverse  town, 
Drew  to  defend  him  when  he  was  beset,  , 

Where  being  apprehended,  his  fafee  cunning, 
Not  meaning  to  partake  with  me  ifi  danger, 
Taught  him  to  face  me  out  of  his  aequaintance, 
And  grew  a  twenty-years-removed  thing       9,  90 


Scene  I]  Twelfth   Night  115 

While  one  would  wink,  denied  me  mine  own  purse 
Which  I  had  recommended  to  his  use 
Not  half  an  hour  before. 

Viola.  How  can  this  be  ? 

Duke.    When  came  he  to  this  town  ? 

Antonio.    To-day,  my   lord ;    and   for    three    months 

before, 

No  interim,  not  a  minute's  vacancy, 
Both  day  and  night  did  we  keep  company. 

Enter  OLIVIA  and  Attendants 

Duke.   Here  comes  the  countess  ;  now  heaven  walks 

on  earth.  — 

But  for  thee,  fellow,  —  fellow,  thy  words  are  madness. 
Three  months  this  youth  hath  tended  upon  me  ;  100 
But  more  of  that  anon.  —  Take  him  aside. 

Olivia.   What  would  my  lord,  but  that  he  may  not 

have, 

Wherein  Olivia  may  seem  serviceable  ?  — 
Cesario,  you  do  not  keep  promise  with  me. 

Viola.    Madam ! 

Duke.    Gracious  Olivia,  — 

Olivia.    What    do    you    say,    Cesario  ?  —  Good    my 
lord,  — 

Viola.    My  lord  would  speak,  my  duty  hushes  me. 

Olivia.    If  it  be  aught  to  the  old  tune,  my  lord, 
It  is  as  fat  and  fulsome  to  mine  ear  no 

As  howling  after  music. 

Duke.  Still  so  cruel  ? 


n6  Twelfth   Night  [Actv 

Olivia.    Still  so  constant,  lord. 

Duke.   What,  to  perverseness  ?  you  uncivil  lady, 
To  whose  ingrate  and  un auspicious  altars 
My  soul  the  faithfulPst  offerings  hath  breath'd  out 
That  e'er  devotion  tender'd  I     What  shall  I  do  ? 

Olivia.    Even  what  it  please  my  lord,  that  shall  be- 
come him. 

Duke.   Why  should  I  not,  had  I  the  heart  to  do  it, 
Like  to  the  Egyptian  thief  at  point  of  death, 
Kill  what  I  love  ?  —  a  savage  jealousy  120 

That  sometime  savours  nobly.     But  hear  me  this : 
Since  you  to  non-regardance  cast  my  faith, 
And  that  I  partly  know  the  instrument 
That  screws  me  from  my  true  place  in  your  favour, 
Live  you  the  marble-breasted  tyrant  still ; 
But  this  your  minion,  whom  I  know  you  love, 
And  whom,  by  heaven  I  swear,  I  tender  dearly, 
Him  will  I  tear  out  of  that  cruel  eye 
Where  he  sits  crowned  in  his  master's  spite.  — 
Come,  boy,  with   me ;   my  thoughts  are  ripe   in  mis- 
chief. 130 
I  '11  sacrifice  the  lamb  that  I  do  love, 
To  spite  a  raven's  heart  within  a  dove. 

Viola.    And  I,  most  jocund,  apt,  and  willingly, 
To  do  you  rest,  a  thousand  deaths  would  die. 

Olivia.    Where  goes  Cesario  ? 

Viola.  After  him  I  love 

More  than  I  love  these  eyes,  more  than  my  life, 
More,  by  all  mores,  than  e'er  I  shall  love  wife.  — 


Scene  I]  Twelfth    Night  117 

If  I  do  feign,  you  witnesses  above 
Punish  my  life  for  tainting  of  my  love ! 

Olivia.   Ay  me,  detested  !  how  am  I  beguil'd  I         140 

Viola.   Who   does   beguile   you?   who  does  do  you 
wrong  ? 

Olivia.    Hast  thou  forgot  thyself!  is  it  so  long?  — 
Call  forth  the  holy  father. 

Duke.  Come,  away  1 

Olivia.   Whither,  my  lord  ?  —  Cesario,  husband,  stay. 

Duke.    Husband ! 

Olivia.  Ay,  husband ;  can  he  that  deny  ? 

Duke.   Her  husband,  sirrah  ! 

Viola.  No,  my  lord,  not  I. 

Olivia.   Alas,  it  is  the  baseness  of  thy  fear 
That  makes  thee  strangle  thy  propriety ! 
Fear  not,  Cesario,  take  thy  fortunes  up  ; 
Be  that  thou  know'st  thou  art,  and  then  thou  art         150 
As  great  as  that  thou  fear'st.  — 

Enter  Priest 

O,  welcome,  father  1 

Father,  I  charge  thee,  by  thy  reverence, 
Here  to  unfold,  though  lately  we  intended 
To  keep  in  darkness  what  occasion  now 
Reveals  before  7t  is  ripe,  what  thou  dost  know 
Hath  newly  pass'd  between  this  youth  and  me. 

Priest.   A  contract  of  eternal  bond  of  love, 
Confirm'd  by  mutual  joinder  of  your  hands, 
Attested  by  the  holy  close  of  lips, 


iiS  Twelfth  Night  [Actv 

Strengthen'd  by  interchangement  of  your  rings,          160 

And  all  the  ceremony  of  this  compact 

Seal'd  in  my  function,  by  my  testimony; 

Since   when,    my   watch    hath    told    me,    toward    my 

grave 
I  have  travell'd  but  two  hours. 

Duke.    O  thou  dissembling  cub !  what  wilt  thou  be 
When  time  hath  sow'd  a  grizzle  on  thy  case  ? 
Or  will  not  else  thy  craft  so  quickly  grow, 
That  thine  own  trip  shall  be  thine  overthrow  ? 
Farewell,  and  take  her ;  but  direct  thy  feet 
Where  thou  and  I  henceforth  may  never  meet.  170 

Viola.    My  lord,  I  do  protest  — 

Olivia.  O,  do  not  swear  ! 

Hold  little  faith,  though  thou  hast  too  much  fear. 

Enter  SIR  ANDREW 

Sir  Andrew.  For  the  love  of  God,  a  surgeon  ! 
Send  one  presently  to  Sir  Toby. 

Olivia.    What 's  the  matter  ? 

Sir  Andrew.    He  has  broke  my  head  across  and  ^ 
has  given  Sir  Toby  a  bloody  coxcomb  too ;  for  the 
love  of  God,  your  help !     I  had   rather  than  forty 
pound  I  were  at  home. 

Olivia.   Who  has  done  this,  Sir  Andrew  ?  180 

Sir  Andrew.  The  count's  gentleman,  one  Cesario  ; 
we  took  him  for  a  coward,  but  he  's  the  very  devil 
incardinate. 

Duke.    My  gentleman,  Cesario  ? 


Scene  I]  Twelfth    Night  1 1  9 

Sir  Andrew.  'Od's  lifelings,  here  he  is !  —  You 
broke  my  head  for  nothing ;  and  that  that  I  did,  I 
was  set  on  to  do  't  by  Sir  Toby. 

Viola.    Why   do   you   speak   to   me  ?    I   never   hurt 

you  ; 

You  drew  your  sword  upon  me  without  cause, 
But  I  bespake  you  fair  and  hurt  you  not.  190 

Sir  Andrew.  If  a  bloody  coxcomb  be  a  hurt,  you 
have  hurt  me ;  I  think  you  set  nothing  by  a  bloody 
coxcomb.  — 

Enter  SIR  TOBY  and  Clown 

Here  comes  Sir  Toby  halting ;  you  shall  hear  more  ; 
but  if  he  had  not  been  in  drink,  he  would  have 
tickled  you  othergates  than  he  did. 

Duke.    How  now,  gentleman !  how  is  't  with  you  ? 

Sir  Toby.  That 's  all  one  ;  he  has  hurt  me,  and 
there  's  the  end  on  't.  —  Sot,  didst  see  Dick  surgeon, 

SOt  ?  200 

Clown.  O,  he  's  drunk,  Sir  Toby,  an  hour  agone  ; 
his  eyes  were  set  at  eight  i'  the  morning. 

Sir  Toby.  Then  he  's  a  rogue,  and  a  passy-measures 
pavin.  I  hate  a  drunken  rogue. 

Olivia.  Away  with  him  !  —  Who  hath  made  this 
havoc  with  them  ? 

Sir  Andrew.  I  '11  help  you,  Sir  Toby,  because 
we  '11  be  dressed  together. 

Sir  Toby.  Will  you  help  ?  an  ass-head  and  a  cox- 
comb and  a  knave,  a  thin-faced  knave,  a  gull ! 


120  Twelfth   Night  [Actv 

Olivia.    Get  him  to  bed,  and  let  his  hurt  be  look'd 

tO.  210 

[Exeunt  Clown,  Fabian,  Sir  Toby,  and  Sir  Andrew. 

Enter  SEBASTIAN 

Sebastian.    I    am    sorry,   madam,   I  have  hurt   your 

kinsman, 

But,  had  it  been  the  brother  of  my  blood, 
I  must  have  done  no  less  with  wit  and  safety. 
You  throw  a  strange  regard  upon  me,  and  by  that 
I  do  perceive  it  hath  offended  you. 
Pardon  me,  sweet  one,  even  for  the  vows 
We  made  each  other  but  so  late  ago. 

Duke.    One    face,    one    voice,    one    habit,  and   two 

persons, 
A  natural  perspective,  that  is  and  is  not! 

Sebastian.    Antonio,  O  my  dear  Antonio  !  220 

How  have  the  hours  rack'd  and  tortur'd  me 
Since  I  have  lost  thee  ! 

Antonio.    Sebastian  are  you  ? 

Sebastian.  Fear'st  thou  that,  Antonio  ? 

Antonio.    How   have    you    made    division    of    your- 
self ?- 

An  apple,  cleft  in  two,  is  not  more  twin 
Than  these  two  creatures.     Which  is  Sebastian  ? 

Olivia.    Most  wonderful ! 

Sebastian.    Do    I    stand    there?      I    never    had    a 

brother ; 
Nor  can  there  be  that  deity  in  my  nature, 


Scene  I]  Twelfth    Night  121 

Of  here  and  every  where.     I  had  a  sister,  230 

Whom  the  blind  waves  and  surges  have  devour'd.  — 
Of  charity,  what  kin  are  you  to  me  ? 
What  countryman  ?  what  name  ?  what,  parentage  ? 

Viola.    Of  Messaline.     Sebastian  was  my  father  ; 
Such  a  Sebastian  was  my  brother  too, 
So  went  he  suited  to  his  watery  tomb. 
If  spirits  can  assume  both  form  and  suit, 
You  come  to  fright  us. 

Sebastian.  A  spirit  I  am  indeed ; 

But  am  in  that  dimension  grossly  clad     ") 
Which  from  the  womb  I  did  participate.  240 

Were  you  a  woman,  as  the  rest  goes  even, 
I  should  my  tears  let  fall  upon  your  cheek, 
And  say,  Thrice-welcome,  drowned  Viola ! 

Viola.    My  father  had  a  mole  upon  his  brow. 

Sebastian.    And  so  had  mine. 

Viola.    And    died   that   day   when   Viola   from    her 

birth 
Had  number'd  thirteen  years. 

Sebastian.    O,  that  record  is  lively  in  my  soul ! 
He  finished  indeed  his  mortal  act 
That  day  that  made  my  sister  thirteen  years.  250 

Viola.    If  nothing  lets  to  make  us  happy  both 
But  this  my  masculine  usurp'd  attire, 
Do  not  embrace  me  till  each  circumstance 
Of  place,  time,  fortune,  do  cohere  and  jump 
That  I  am  Viola ;  which  to  confirm, 
I  '11  bring  you  to  a  captain  in  this  town, 


122  Twelfth  Night  [Actv 

Where  lie  my  maiden  weeds,  by  whose  gentle  help 
I  was  preserv'd  to  serve  this  noble  count. 
All  the  occurrence  of  my  fortune  since 
Math  been  between  this  lady  and  this  lord.  260 

Sebastian  [To    Olivia}  So   comes  it,   lady,  you  have 

been  mistook ; 

But  nature  to  her  bias  drew  in  that. 
You  wou]fjL  .h«f&r  been  contracted  to  a  maid  ; 
Nor  are  you  therein,  by  my  life,  deceiv'd, 
You  are  betroth'd  both  to  a  maid  and  man. 

Duke.    Be  not  amaz'd  ;  right  noble  is  his  blood.  — 
If  this  be  so,  as  yet  the  glass  seems  true, 
I  shall  have  share  in  this  most  happy  wrack.  — 
[To  Viola}  Boy,    thou    hast    said    to    me    a   thousand 

times 
Thou  never  shouldst  love  woman  like  to  me.  270 

Viola.    And  all  those  sayings  will  I  over-swear, 
And  all  those  swearings  keep  as  true  in  soul 
As  doth  that  orbed  continent  the  fire 
That  severs  day  from  night. 

Duke.  Give  me  thy  hand, 

And  let  me  see  thee  in  thy  woman's  weeds. 

Viola.    The    captain    that    did    bring    me    first    on 

shore 

Hath  my  maid's  garments ;  he  upon  some  action 
Is  now  in  durance,  at  Malvolio's  suit,  \ 
A  gentleman,  ajid  follower  of  my  lady's. 

Olivia.    £|&    shall    enlarge    him,  —  Fetch    Malvolio 
hither  \  —  280 


Scene  I]  Twelfth    Night  123 

And  yet,  alas,  now  I  remember  me, 

They  say,  poor  gentleman,  he  's  much  distract. 

Re-enter  Clown  with  a  letter,  and  FABIAN 

A  most  extracting  frenzy  of  mine  own 

From  my  remembrance  clearly  banish 'd  his.-— 

How  does  he,  sirrah  ? 

Clown.  Truly,  madam,  he  holds  Belzebub  at  the 
stave's  end  as  well  as  a  man  in  his  case  may  do. 
He  has  here  writ  a  letter  to  you ;  I  should  have 
given  't  you  to-day  morning,  but  as  a  madman's 
epistles  are  no  gospels,  so  it  skills  not  much  when  290 
they  are  delivered. 

Olivia.    Open  't,  and  read  it. 

Clown.  Look  then  to  be  well  edified  when  the 
fool  delivers  the  madman.  [Reads]  '  By  the  Lord, 
madam?  — 

Olivia.    How  now!  art  thou  mad  ? 

Clown.  No,  madam,  I  do  but  read  madness  :  an 
your  ladyship  will  have  it  as  it  ought  to  be,  you 
must  allow  vox. 

Olivia.    Prithee,  read  i'  thy  right  wits.  300 

Clown.  So  I  do,  madonna,  but  to  read  his  right 
wits  is  to  read  thus ;  therefore  perpend,  my  princess, 
and  give  ear, 

Olivia.    [To  Fabian]    Read  it  you,  sirrah. 

Fabian.  [Reads]  '  By  the  Lord,  madam,  you  wrong 
me,  and  the  world  shall  know  it ;  though  you  have  put 
me  into  darkness  and  given  your  drunken  cousin  rule 


124  Twelfth  Night  [Actv 

over  me,  yet  have  I  the  benefit  of  my  senses  as  well  as 
your  ladyship.  I  have  your  own  letter  that  induced  me 
to  the  semblance  I  put  on,  with  the  which  I  doubt  not  310 
but  to  do  myself  much  right  or  you  much  shame.  Think 
of  me  as  you  please.  I  leave  my  duty  a  little  unthought 
of,  and  speak  out  of  my  injury. 

THE   MADLY-USED    MALVOLIO.' 

Olivia.   Did  he  write  this  ? 
Clown.    Ay,  madam. 

Duke.   This  savours  not  much  of  distraction. 
Olivia.    See    him    deliver'd,    Fabian ;    bring    him 
hither.  —  [Exit  Fabian. 

My  lord,  so  please  you,  these  things  further  thought 

on, 

To  think  me  as  well  a  sister  as  a  wife,  320 

One   day   shall   crown   the   alliance   on   't,   so   please 

you, 
Here  at  my  house  and  at  my  proper  cost. 

Duke.   Madam,    I    am   most   apt  to   embrace    your 

offer. — 
\ToViola\    Your  master  quits  you,  and  for  your  service 

done  him, 

So  much  against  the  mettle  of  your  sex, 
So  far  beneath  your  soft  and  tender  breeding, 
And  since  you  call'd  me  master  for  so  long, 
Here  is  my  hand ;  you  shall  from  this  time  be 
Your  master's  mistress. 

Olivia.  A  sister  1  you  are  she. 


Scene  I]  Twelfth   Night  125 

Re-enter  FABIAN,  with  MALVOLIO 

Duke.    Is  this  the  madman  ? 

Olivia.  Ay,  my  lord,  this  same.  —     330 

How  now,  Malvolio ! 

Malvolio.  Madam,  you  have  done  me  wrong, 

Notorious  wrong. 

Olivia.  Have  I,  Malvolio?  no. 

Malvolio.   Lady,  you  have.     Pray  you,  peruse   that 

letter. 

You  must  not  now  deny  it  is  your  hand. 
Write  from  it,  if  you  can,  in  hand  or  phrase, 
Or  say  't  is  not  your  seal,  not  your  invention. 
You  can  say  none  of  this.     Well,  grant  it  then, 
And  tell  me,  in  the  modesty  of  honour, 
Why  you  have  given  me  such  clear  lights  of  favour, 
Bade  me  come  smiling  and  cross-garter 'd  to  you,        340 
To  put  on  yellow  stockings  and  to  frown 
Upon  Sir  Toby  and  the  lighter  people ; 
And,  acting  this  in  an  obedient  hope, 
Why  have  you  suffer 'd  me  to  be  ipiprison'd, 
Kept  in  a  dark  house,  visited  by  the  priest, 
And  made  the  most  notorious  geek  and  gull 
That  e'er  invention  play'd  on  ?  tell  me  why. 

Olivia.   Alas,  Malvolio,  this  is  not  my  writing, 
Though,  I  confess,  much  like  the  character, 
But  out  of  question  't  is  Maria's  hand.  350 

And  now  I  do  bethink  me,  it  was  she 
First  told  me  thou  wast  mad ;  then  cam'st  in  smiling, 


126  Twelfth  Night  [Actv 

And  in  such  forms  which  here  were  presupposed 
Upon  thee  in  the  letter.     Prithee,  be  content ; 
This  practice  hath  most  shrewdly  pass'd  upon  thee, 
But  when  we  know  the  grounds  and  authors  of  it, 
Thou  shalt  be  both  the  plaintiff  and  the  judge 
Of  thine  own  cause. 

Fabian.  Good  madam,  hear  me  speak, 

And  let  no  quarrel  nor  no  brawl  to  come 
Taint  the  condition  of  this  present  hour,  360 

Which  I  have  wonder'd  at.     In  hope  it  shall  not, 
Most  freely  I  confess,  myself  and  Toby 
Set  this  device  against  Malvolio  here, 
Upon  some  stubborn  and  uncourteous  parts 
We  had  conceiv'd  against  him.     Maria  writ 
The  letter  at  Sir  Toby's  great  importance, 
In  recompense  whereof  he  hath  married  her. 
How  with  a  sportful  malice  it  was  follow'd 
May  rather  pluck  on  laughter  than  revenge, 
If  that  the  injuries  be  justly  weigh 'd  370 

That  have  on  both  sides  pass'd. 

Olivia.   Alas,  poor  fool,  how  have  they  baffled  thee  ! 

Clown.  Why,  '  some  are  born  great,  some  achieve 
greatness,  and  some  have  greatness  thrown  upon 
them.'  I  was  one,  sir,  in  this  interlude,  one  Sir 
Topas,  sir  ;  but  that 's  all  one.  — '  By  the  Lord,  fool, 
I  am  not  mad.'  —  But  do  you  remember  ?  '  Madam, 
why  laugh  you  at  such  a  barren  rascal  ?  an  you 
smile  not,  he  's  gagged.'  And  thus  the  whirligig 
of  time  brings  in  his  revenges.  380 


Scene  I]  Twelfth    Night  127 

Malvolio.    I  '11  be  reveng'd  on  the  whole  pack  of  you. 

[Exit. 

Olivia.    He  hath  been  most  notoriously  abus'd. 

Duke.    Pursue  him  and  entreat  him  to  a  peace. 
He  hath  not  told  us  of  the  captain  yet. 
When  that  is  known  and  golden  time  convents, 
A  solemn  combination  shall  be  made 
Of  our  dear  souls.  —  Meantime,  sweet  sister, 
We  will  not  part  from  hence.  —  Cesario,  come  ; 
For  so  you  shall  be  while  you  are  a  man, 
But  when  in  other  habits  you  are  seen,  390 

Orsino's  mistress  and  his  fancy's  queen. 

\Exeunt  all,  except  Clown. 

Clown.    [Sings] 

When  that  I  was  and  a  little  tiny  boy+ 
With  hey,  ho,  the  wind  and  the  rain, 
A  foolish  thing  was  but  a  toy, 

For  the  rain  it  raineth  every  day. 

But  when  I  came  to  man's  estate, 

With  hey,  ho,  the  wind  and  the  rain, 

'  Gainst  knaves  and  thieves  men  shut  their  gate, 
For  the  rain  it  raineth  every  day.  400 

But  when  I  came,  alas  !  to  wive, 

With  hey,  ho,  the  wind  and  the  rain, 

By  swaggering  could  I  never  thrive, 
For  the  rain  it  raineth  every  day. 


128  Twelfth   Night  [Actv 

But  when  I  came  unto  my  beds, 

With  hey,  ho,  the  wind  and  the  rain, 
With  toss-pots  still  had  drunken  heads, 
For  the  rain  it  raineth  every  day. 

A  great  while  ago  the  world  begun, 

9  With  hey,  ho,  the  wind  and  the  rain,  410 

But  that 's  all  one,  our  play  is  done, 

And  we  '//  strive  to  please  you  every  day. 

[Exit. 


NOTES 

Vj>N 


TWELFTH   NIGHT  —  9 


DEPART 


ITIC  ART 


•SPINSTERS  AND  KNITTERS" 


NOTES 


INTRODUCTION 


THE  METRE  OF  THE  PLAY.  —  It  should  be  understood  at  the 
outset  that  metre,  or  the  mechanism  of  verse,  is  something  altogether 
distinct  from  the  music  of  verse.  The  one  is  matter  of  rule, 
the  other  of  taste  and  feeling.  Music  is  not  an  absolute  necessity 
of  verse;  the  metrical  form  is  a  necessity,  being  that  which  consti- 
tutes the  verse. 

The  plays  of  Shakespeare  (with  the  exception  of  rhymed  pas- 
sages, and  of  occasional  songs  and  interludes)  are  all  in  unrhymed 
or  blank  verse;  and  the  normal  form  of  this  blank  verse  is  illus- 

131 


132  Notes 

trated  by  the  first  line  of  the  present  play :  "  If  music  be  the  food 
of  love,  play  on." 

This  line,  it  will  be  seen,  consists  of  ten  syllables,  with  the  even 
syllables  (2d,  4th,  6th,  8th,  and  loth)  accented,  the  odd  syllables 
(ist,  3d,  etc.)  being  unaccented.  Theoretically,  it  is  made  up  of 
five  feet  of  two  syllables  each,  with  the  accent  on  the  second  sylla- 
ble. Such  a  foot  is  called  an  iambus  (plural,  iambuses,  or  the 
Latin  iambi),  and  the  form  of  verse  is  called  iambic. 

This  fundamental  law  of  Shakespeare's  verse  is  subject  to  certain 
modifications,  the  most  important  of  which  are  as  follows :  — 

1.  After  the  tenth  syllable  an  unaccented  syllable  (or  even  two 
such  syllables)  may  be  added,  forming  what  is  sometimes  called  a 
female  line ;  as  in  the  twenty-fourth  line  of  the  first  scene :  "  So 
please  my  lord,  I  might  not  be  admitted."     The  rhythm  is  complete 
with   the   second  syllable  of  admitted,  the  third  being  an   extra 
eleventh  syllable.     In  i.  2.  34  ("  That  he  did  seek  the  love  of  fair 
Olivia")  we  have  two  extra  syllables,  the  rhythm  being  complete 
with  the  second  syllable  of  Olivia. 

2.  The  accent  jn  any  part  of  the  verse  may  be  shifted  from  an 
even  to  an  odd  syllable ;  as  in  lines  5  and  7  of  the  first  scene :  — 

"  O,  it  came  o'er  my  ear  like  the  sweet  sound 

******* 
Stealing  and  giving  odour  !     Enough ;  no  more !  " 

In  both  lines  the  accent  is  shifted  from  the  second  to  the  first 
syllable.  This  change  occurs  very  rarely  in  the  tenth  syllable,  and 
seldom  in  the  fourth  ;  and  it  is  not  allowable  in  two  successive 
accented  syllables. 

3.  An  extra  unaccented  syllable  may  occur  in  any  part  of  the 
line ;   as  in  lines  7,  9,  and  14.     In  7  the  second  syllable  of  odour 
is   superfluous  ;    in    9   the   second   syllable   of  spirit ;  and  in  14 
the  second  syllable  of  even  and  minute. 

4.  Any  unaccented  syllable,  occurring  in  an  even  place  immedi- 
ately before  or  after  an  even  syllable  which  is  properly  accented,  is 


Notes  133 

reckoned  as  accented  for  the  purposes  of  the  verse  ;  as,  for  instance, 
in  lines  2  and  3.  In  2  the  last  syllable  of  surfeiting,  and  in  3  the 
last  of  appetite  are  metrically  equivalent  to  accented  syllables; 
and  so  with  the  last  syllable  of  violets  in  6.  Other  examples 
are  the  third  syllable  of  notwithstanding  and  the  last  of  capacity 
in  10,  the  last  of  validity  in  12,  and  the  last  of  fantastical  in  15. 

5.  In  many  instances  in  Shakespeare  words  must  be  lengthened 
in  order  to  fill  out  the  rhythm :  —  • 

(a)  In  a  large  class  of  words  in  which  e  or  i  is  followed  by 
another  vowel,  the  e  or  i  is  made  a  separate  syllable;  as 
ocean,  opinion,  soldier,  patience,  partial,  marriage,  etc.  For 
instance,  line  39  of  the  first  scene  of  the  present  play  appears 
to  have  only  nine  syllables,  but  perfection  is  a  quadrisyllable,  as 
perfections  is  in  i.  5.  306.  In  i.  5.  265  adorations  has  metrically 
five  syllables.  This  lengthening  occurs  most  frequently  at  the  end 
of  the  line. 

(<£)  Many  monosyllables  ending  in  r,  re,  rs,  res,  preceded  by  a 
long  vowel  or  diphthong,  are  often  made  dissyllables;  as  fare,  fear, 
dear,  fire,  hair,  hour,  your,  etc.  In  iii.  I.  113  ("Than  music 
from  the  spheres.  Dear  lady,")  both  spheres  arjd  Dear  are  dis- 
syllables. If  the  word  is  repeated  in  a  verse,  it  is  often  both 
monosyllable  and  dissyllable;  as  in  M.  of  V.  iii.  2.  20:  "And  so, 
though  yours,  not  yours.  Prove  it  so,"  where  either  yours  (pre- 
ferably the  first)  is  a  dissyllable,  the  other  being  a  monosyllable. 
In/.  C.  iii.  i.  172:  "  As  fire  drives  out  fire,  so  pity,  pity,"  the  first 
fire  is  a  dissyllable. 

(*:)  Words  containing  /  or  r,  preceded  by  another  consonant,  are 
often  pronounced  as  if  a  vowel  came  between  the  consonants ;  as 
in  i.  i.  32:  "And  lasting  in  her  sad  remembrance,"  where  remem- 
brance is  a  quadrisyllable  (rememb(e) ranee);  as  in  W.  T.  iv.  4. 
76:  "  Grace  and  remembrance  [rememb(e)  ranee]  be  to  you  both  !  " 
In  i.  2.  ii:  "  The  like  of  him.  Know'st  thou  this  country  ?  " 
country  is  a  trisyllable  (count(e)ry).  See  also  T.  of  S.  ii.  I.  158: 
"While  she  did  call  me  rascal  fiddler"  [fidd(e)ler];  AWs  Well,\\\« 


134  Notes 

5.43:  "If  you  will  tarry,  holy  pilgrim"  [pilg(e)rim];  C.  of  E. 
v.  i.  360:  "These  are  the  parents  of  these  children"  (childeren, 
the  original  form  of  the  word). 

(</)  Monosyllabic  exclamations  (ay,  O,  yea,  nay,  kail,  etc.)  and 
monosyllables  otherwise  emphasized  are  similarly  lengthened  ;  also 
certain  longer  words;  as  commandement  in  M.  of  V.  iv.  I.  442; 
safety  (trisyllable)  in  Ham.  i.  3.  21 ;  business  (trisyllable,  as 
originally  pronounced)  in  J.  C.  iv.  I.  22:  "To  groan  and  sweat 
under  the  business  "  (so  in  several  other  passages) ;  and  other 
words  mentioned  in  the  notes  to  the  plays  in  which  they  occur. 

6.  Words  are  also  contracted  for  metrical  reasons,  like  plurals 
and  possessives  ending  in  a  sibilant,  as  balance,  horse  (for  horses 
and   horse"1*},  princess,   sense,  marriage    (plural   and   possessive), 
image,  and  other  words  mentioned  in  the  notes  on  this  and  other 
plays. 

7.  The  accent  of  words  is  also  varied  in  many  instances  for  met- 
rical reasons.     Thus  we  find  both  revenue  and  revenue  in  the  first 
scene  of  the  M.  N.  D.  (lines  6  and  158),  dccess  and  access  (see  note 
on  i.  5.  1 6),  dbscure  and  obscure,  pursue  and  pursue,  c6ntrary  and 
contrary,  etc. 

These  instances  of  variable  accent  must  not  be  confounded  with 
those  in  which  words  were  uniformly  accented  differently  in  the 
time  of  Shakespeare;  like  aspect  (see  on  i.  4.  27),  impdrtune, per- 
sever  (never  persevere},  perseverance,  rheumatic,  etc. 

8.  Alexandrines,  or  verses  of  twelve  syllables,  with  six  accents, 
occur  here  and  there  ;   as  in  the  inscriptions  on  the  caskets  in  the 
M.  of  V.    See  also  iv.  3.  21  in  the  present  play :  "  That  is  deceivable. 
But  here  the  lady  comes";  v.  I.  73:  "Hast  made  thine  enemies? 
Orsino,  noble  sir,"  etc.     They  must  not  be  confounded  with  female 
lines  with  two  extra  syllables  (see  on  i  above)  or  with  other  lines 
in  which  two  extra  unaccented  syllables  may  occur. 

9.  Incomplete  verses,  of  one   or  more   syllables,    are  scattered 
through  the  plays.     See,  for  instance,  in  this  play  i.  I.  17,  i.  2.  i,  2, 
17,  1 8,  24,  26,  27,  29,  35,  etc. 


Notes  135 

10.  Doggerel  measure  is  used  in  the  earliest  cornedies  (L.  L.  L. 
and  C.  of  E.  in  particular)  in  the  mouths  of  comic  characters,  but 
nowhere  else  in  those  plays,  and  never  anywhere  after  1598  or  1599. 

\\.*Rhyme  occurs  frequently  in  the  early  plays,  but  diminishes 
with  comparative  regularity  from  that  period  until  the  latest.  Thus, 
in  L.  L.  L.  there  are  about  noo  rhyming  verses  (about  one-third 
of  the  whole  number),  in  the  M.  N.  D.  about  goo,  in  Richard  II. 
and  R.  and  J.  about  500  each,  while  in  Cor.  and  A.  and  C.  there 
are  only  about  40  each,  in  the  Temp,  only  two,  and  in  the  W.  T. 
none  at  all,  except  in  the  chorus  introducing  act  iv.  Songs,  inter- 
ludes, and  other  matter  not  in  ten-syllable  measure  are  not  in- 
cluded in  this  enumeration.  In  the  present  play,  out  of  some  850 
ten-syllable  verses,  about  120  are  in  rhyme. 

Alternate  rhymes  are  found  only  in  the  plays  written  before  1599 
or  1600.  In  the  M.  of  V.  there  are  only  four  lines  at  the  end  of 
iii.  2.  In  Much  Ado  and  A.  Y.  L.  we  also  find  a  few  lines,  but 
none  at  all  in  subsequent  plays. 

Rhymed  couplets,  or  "rhyme-tags"  are  often  found  at  the  end 
of  scenes ;  as  in  the  first  scene,  and  eleven  other  scenes,  of  the 
present  play.  In  Ham.  14  out  of  20  scenes,  and  in  Macb.  21  out  of 
28,  have  such  "  tags " ;  but  in  the  latest  plays  they  are  not  so 
frequent.  The  Temp.,  for  instance,  has  but  one,  and  the  W.  T. 
none. 

12.  In  this  edition  of  Shakespeare,  the  final  -ed  of  past  tenses 
and  participles  is  printed  -d  when  the  word  is  to  be  pronounced  in 
the  ordinary  way;  as  in  purged,  line  20,  and  turned,  line  21,  of  the 
first  scene.  But  when  the  metre  requires  that  the  -ed  be  made  a 
separate  syllable,  the  e  is  retained;  as  in  veiled,  line  28  of  the  first 
scene,  where  the  word  is  a  dissyllable.  The  only  variation  from 
this  rule  is  in  verbs  like  cry,  die,  sue,  etc.,  the  -ed  of  which  is  very 
rarely,  if  ever,  made  a  separate  syllable. 

SHAKESPEARE'S  USE  OF  VERSE  AND  PROSE  IN  THE  PLAYS.— 
This  is  a  subject  to  which  the  critics  have  given  very  little  atten- 
tion, but  it  is  an  interesting  study.  In  the  present  play  we  find 


136  Notes 

scenes  entirely  in  verse  or  in  prose,  and  others  in  which  the  two  are 
mixed.  In  general,  we  may  say  that  verse  is  used  for  what  is  dis- 
tinctly poetical,  and  prose  for  what  is  not  poetical.  The  distinc- 
tion, however,  is  not  so  clearly  marked  in  the  earlier  as  in  tHe  later 
plays.  The  second  scene  of  the  M.  of  K,  for  instance,  is  in  prose, 
because  Portia  and  Nerissa  are  talking  about  the  suitors  in  a  famil- 
iar and  playful  way;  but  in  the  T.  G.  of  V.,  where  Julia  and 
Lucetta  are  discussing  the  suitors  of  the  former  in  much  the  same 
fashion,  the  scene  is  in  verse.  Dowden,  commenting  on  Rich.  //., 
remarks:  "Had  Shakespeare  written  the  play  a  few  years  later,  we 
may  be  certain  that  the  gardener  and  his  servants  (iii.  4)  would 
not  have  uttered  stately  speeches  in  verse,  but  would  have  spoken 
homely  prose,  and  that  humour  would  have  mingled  with  the 
pathos  of  the  scene.  The  same  remark  may  be  made  with  refer- 
ence to  the  subsequent  scene  (v.  5)  in  whirh  his  groom  visits  the 
dethroned  king  in  the  Tower."  Comic  characters  and  those  in  low 
life  generally  speak  in  prose  in  the  later  plays,  as  Dowden  inti- 
mates, but  in  the  very  earliest  ones  doggerel  verse  is  much  used 
instead.  See  on  10  above. 

The  change  from  prose  to  verse  is  well  illustrated  in  the  third 
scene  of  the  M.  of  V.  It  begins  with  plain  prosaic  talk  about  a 
business  matter;  but  when  Antonio  enters,  it  rises  at  once  to  the 
higher  level  of  poetry.  The  sight  of  Antonio  reminds  Shylock  of 
his  hatred  of  the  Merchant,  and  the  passion  expresses  itself  in  verse, 
the  vernacular  tongue  of  poetry.  We  have  a  similar  change  in 
the  first  scene  of  J.  C.,  where,  after  the  quibbling  "  chaff "  of  the 
mechanics  about  their  trades,  the  mention  of  Pompey  reminds  the 
Tribune  of  their  plebeian  fickleness,  and  his  scorn  and  indignation 
flame  out  in  most  eloquent  verse.  Note  also  in  the  present  play 
the  changes  from  verse  to  prose  at  i.  5.  248,  260,  ii.  2.  12,  17,  iii. 
I.  62,  etc. 

The  reasons  for  the  choice  of  prose  or  verse  are  not  always  so 
clear  as  in  these  instances.  We  are  seldom  puzzled  to  explain  the 
prose,  but  not  unfrequently  we  meet  with  verse  where  we  might 


Notes  137 

expect  prose.  As  Professor  Corson  remarks  {Introduction  to  Shakes- 
peare,  1889),  "Shakespeare  adopted  verse  as  the  general  tenor  of 
his  language,  and  therefore  expressed  much  in  verse  that  is  within 
the  capabilities  of  prose  ;  in  other  words,  his  verse  constantly 
encroaches  upon  the  domain  of  prose,  but  his  prose  can  never  be 
said  to  encroach  upon  the  domain  of  verse."  If  in  rare  instances 
we  think  we  find  exceptions  to  this  latter  statement,  and  prose 
actually  seems  to  usurp  the  place  of  verse,  I  believe  that  careful 
study  of  the  passage  will  prove  the  supposed  exception  to  be  appar- 
ent rather  than  real. 

SOME  BOOKS  FOR  TEACHERS  AND  STUDENTS.  —  A  few  out  of 
the  many  books  that  might  be  commended  to  the  teacher  and  the 
critical  student  are  the  following:  Halliwell-Phillipps's  Outlines 
of  the  Life  of  Shakespeare  (yth  ed.  1887);  Sidney  Lee's  Life  of 
Shakespeare  (1898  ;  for  ordinary  students,  the  abridged  ed.  of  1899 
is  preferable) ;  Schmidt's  Shakespeare  Lexicon  (3d  ed.  1902) ; 
Littledale's  ed.  of  Dyce's  Glossary  (1902);  Bartlett's  Concordance 
to  Shakespeare  (1895);  Abbott's  Shakespearian  Grammar  (1873); 
Furness's  "New  Variorum"  ed.  of  Twelfth  Night  (1901;  ency- 
clopaedic and  exhaustive) ;  Dowden's  Shakspere  :  His  Mind  and 
Art  (American  ed.  1881);  Hudson's  Life,  Art,  and  Characters  of 
Shakespeare  (revised  ed.  1882);  Mrs.  Jameson's  Characteristics  of 
Women  (several  eds. ;  some  with  the  title,  Shakespeare  Heroines) ; 
Ten  Brink's  Five  Lectures  on  Shakespeare  (1895);  Boas's  Shake- 
speare and  His  Predecessors  (1895);  Dyer's  Folk-lore  of  Shake- 
speare (American  ed.  1884);  Gervinus's  Shakespeare  Commentaries 
(Bunnett's  translation,  1875);  Wordsworth's  Shakespeare"1*  Knowl- 
edge of  the  Bible  (3d  ed.  1880);  Elson's  Shakespeare  in  Music 
(1901). 

Some  of  the  above  books  will  be  useful  to  all  readers  who  are 
interested  in  special  subjects  or  in  general  criticism  of  Shakespeare. 
Among  those  which  are  better  suited  to  the  needs  of  ordinary 
readers  and  students,  the  following  may  be  mentioned:  Mabie's 
William  Shakespeare:  Poet,  Dramatist,  and  Man  (1900);  Dow- 


ij  8  Notes 

den's  Shaksperc  Primer  (1877;  small  but  invaluable);  Rolfe's 
Shakespeare  the  Boy  (1896  ;  treating  of  the  home  and  school  life, 
the  games  and  sports,  the  manners,  customs,  and  folk-lore  of  the 
poet's  time);  Guerber's  Myths  of  Greece  and  Rome  (for  young 
students  who  may  need  information  on  mythological  allusions  not 
explained  in  the  notes). 

Black's  Judith  Shakespeare  (1884;  a  novel,  but  a  careful  study 
of  the  scene  and  the  time)  is  a  book  that  I  always  commend  to 
young  people,  and  their  elders  will  also  enjoy  it.  The  Lambs' 
Tales  from  Shakespeare  is  a  classic  for  beginners  in  the  study  of 
the  dramatist ;  and  in  Rolfe's  ed.  the  plan  of  the  authors  is  carried 
out  in  the  Notes  by  copious  illustrative  quotations  from  the  plays. 
Mrs.  Cowden-Clarke's  Girlhood  of  Shakespeare's  Heroines  (several 
eels.)  will  particularly  interest  girls;  and  both  girls  and  boys  will 
find  Bennett's  Master  Skylark  (1897)  an(^  Imogen  Clark's  Will 
Shakespeare's  Little  £#^(1897)  equally  entertaining  and  instructive. 

H.  Snowden  Ward's  Shake  sp  ear  e^s  Town  and  J^imes  (1896)  and 
John  Leyland's  Shakespeare  Country  (enlarged  ed.,  1903)  are 
copiously  illustrated  books  (yet  inexpensive)  which  may  be 
particularly  commended  for  school  libraries. 

ABBREVIATIONS  IN  THE  NOTES.  —  The  abbreviations  of  the 
names  of  Shakespeare's  plays  will  be  readily  understood ;  as 
T.  N.  for  Twelfth  Night,  Cor.  for  Coriolanus,  3  Hen.  VI.  for 
The  Third  Part  of  King  Henry  the  Sixth,  etc.  P.  P.  refers  to 
7^he  Passionate  Pilgrim  ;  V.  and  A.  to  Venus  and  Adonis ;  L.  C. 
to  Lover's  Complaint ;  and  Sonn.  to  the  Sonnets. 

Other  abbreviations  that  hardly  need  explanation  are  Cf.  {confer, 
compare),  Fol.  (following),  Id.  (idem,  the  same),  and  Prol.  (pro- 
logue). The  numbers  of  the  lines  in  the  references  (except  for  the 
present  play)  are  those  of  the  "  Globe  "  edition  (the  cheapest  and 
best  edition  of  Shakespeare  in  one  compact  volume),  which  is  now 
generally  accepted  as  the  standard  for  line-numbers  in  works  of  ref- 
erence (Schmidt's  Lexicon,  Abbott's  Grammar,  Dowden's  Primer, 
the  publications  of  the  New  Shakspere  Society,  etc,). 


Scene  I]  Notes 


ACT  I 

In  the  folio  the  play  is  divided  into  acts  and  scenes,  but  there  is 
no  list  of  dramatis  persona. 

SCENE  I.  —  I.  If  music,  etc.  Halliwell-Phillipps  quotes  7^<? 
Squire  of  Alsatia,  1 688:  "Remember  Shakespear;  'If  musick  be 
the  food  of  love,  play  on '  —  There  's  nothing  nourishes  that  soft 
passion  like  it ;  it  imps  his  wings,  and  makes  him  fly  a  higher 
pitch."  For  imps  (adds  new  feathers  to),  cf.  Rich.  II.  ii.  I.  292. 

2.  Give  me  excess,  etc.  Cf.  T  .G.  of  V.\\\.  I.  220:  "And  now 
excess  of  it  will  make  me  surfeit ;"  and  Oth.  ii.  I.  50:  "my  hopes, 
not  surfeited  to  death." 

4.  Fall.     Cadence.     Cf.  Milton,  Comus,  251:  — 

"  At  every  fall  smoothing  the  raven  down 
Of  darkness  till  it  smil'd." 

Holt  White  quotes  Pope,  Ode  on  St.  Cecilia's  Day:  — 

"  The  strains  decay, 
And  melt  away 
In  a  dying,  dying  fall." 

and  Thomson,  Spring,  722 :  — 

"  still  at  every  dying  fall 
Takes  up  the  lamentable  strain." 

5.  Sound.    The  folio  reading,  for  which  Pope  substituted  "  south," 
which  some  editors  adopt.     Knight  thus  defends  the  old  reading : 
"  Let  us  consider  whether  S.  was  most  likely  to  have  written  sound 
or  south,  which  involves  the  question  of  which  is  the  better  word. 
Steevens  tells  us  that  the  thought  might  have  been  borrowed  from 
Sidney's  Arcadia  (book  i.),  and  he  quotes  a  part  of  the  passage. 
We  must   look,  however,    at  the   context.      Sidney    writes,  *  Her 
breath  is  more  sweet  than  a  gentle  south-west  wind,  which  comes 
creeping  over  flowery  fields  and  shadowed  waters  in  the  extreme 
heat   of  summer.'      The   comparison  is  here   direct.      The  sweet 


140  Notes  [Act  I 

breath  of  Urania  is  more  sweet  than  the  gentle  south-west  wind. 
Sidney  adds,  'and  yet  is  nothing,  compared  to  the  honey-flowing 
speech  that  breath  doth  carry.'  The  music  of  the  speech  is  not 
here  compared  with  the  music  of  the  wind  —  the  notion  of  fragrance 
is  alone  conveyed.  If  in  the  passage  of  the  text  we  read  south 
instead  of  sound,  the  conclusion  of  the  sentence,  *  Stealing,  and 
giving  odour,'  rests  upon  the  mind;  and  the  comparison  becomes 
an  indirect  one  between  the  harmony  of  the  dying  fall  and  the 
odour  of  the  breeze  that  had  passed  over  a  bank  of  violets.  This, 
we  think,  is  not  what  the  poet  meant.  He  desired  to  compare  one 
sound  with  another  sound.  Milton  had  probably  this  passage  in 
view  when  he  wrote : 

'  Now  gentle  gales, 

Fanning  their  odoriferous  wings,  dispense 
Native  perfumes,  and  whisper  whence  they  stole 
Those  balmy  spoils.' 

The  image  in  Milton,  as  well  as  in  Shakspere,  combines  the 
notion  of  sound  as  well  as  fragrance.  In  Shakspere,  *  the  sound 
that  breathes*  —  the  soft  murmur  of  the  breeze  playing  amid  beds 
of  flowers  —  is  put  first,  because  of  the  'dying  fall'  of  the  exquisite 
harmony ;  but  in  Milton  the  '  perfumes  '  of  the '  gentle  gales '  are 
more  prominent  than  '  the  whisper,'  because  the  image  is  complete 
in  itself,  unconnected  with  what  precedes.  Further,  Shakspere  has 
nowhere  else  made  the  south  an  odour-breathing  wind;  his  other 
representations  are  directly  contrary.  In  As  You  Like  It  [iii.  5.  49], 
Rosalind  says :  — 

'  You  foolish  shepherd,  wherefore  do  you  follow  her, 
Like  foggy  south,  puffing  with  wind  and  rain  ?  ' 

In  Romeo  and  Juliet  [i.  4.  103],  we  have  the  dew-dropping  south; 
in  Cymbeline  [ii.  3.  136], '  the  south-fog  rot  him,'  We  prefer,  there- 
fore, on  all  accounts,  to  hold  to  the  original  text."  White  remarks : 
"  Sound  appears  in  the  authentic  text,  and,  to  say  the  least,  is  com- 


Scene  I]  Notes  141 

prehensible  and  appropriate,  and  is  therefore  not  to  be  disturbed, 
except  by  those  who  hold  that  S.  must  have  written  that  which  they 
think  best.  But  did  Pope,  or  the  editors  who  have  followed  him, 
ever  lie  musing  on  the  sward  at  the  edge  of  a  wood,  and  hear  the 
low  sweet  hum  of  the  summer  air,  as  it  kissed  the  coyly-shrinking 
wild  flowers  upon  the  banks,  and  passed  on  loaded  with  fragrance 
from  the  sweet  salute?  If  they  ever  did,  how  could  they  make  this 
change  of  sound  to  south  ?  and  if  they  never  did,  they  are  unable  to 
entirely  appreciate  the  passage,  much  less  to  improve  it." 

The  main  and  direct  comparison  is  between  the  music  and  the 
murmur  of  the  wind;  this  is  at  once  strengthened  and  beautified  by 
the  reference  to  the  odour.  It  will  be  noticed  that  the  poet  dwells 
on  this  secondary  comparison;  he  is  not  satisfied  with  describing 
the  wind  as  breathing  on  the  bank  of  violets,  but  adds  the  exquisite 
stealing  and  giving  odour.  Milton  has  a  direct  comparison  of  sound 
to  fragrance  in  a  very  beautiful  passage  in  Comus,  555  fol. :  — 

"  At  last  a  soft  and  solemn-breathing  sound 
Rose  like  a  steam  of  rich  distill'd  perfumes, 
And  stole  upon  the  air,  that  even  Silence 
Was  took  ere  she  was  ware,  and  wish'd  she  might 
Deny  her  nature,  and  be  never  more, 
Still  to  be  so  displac'd." 

Clarke  thinks  that  S.  may  also  have  remembered  Bacon's  sentence 
of  similar  beauty :  "  The  breath  of  flowers  is  far  sweeter  in  the  air 
(where  it  comes  and  goes  like  the  warbling  of  music)  than  in  the 
hand." 

It  may  be  added  that  this  is  not  the  only  passage  in  which  S.  has 
blended  metaphors  drawn  from  two  of  the  five  senses.  There  is 
another  instance  in  Ham.  iii.  I.  163  in  that  most  pathetic  utter- 
ance  of  Ophelia :  — • 

"And  I  of  ladies  most  deject  and  wretched, 
That  suck'd  the  honey  of  his  music  vows," 


142  Notes  [Act  I 

where  two  kinds  of  sweetness  are  combined,  appealing  to  taste  and 
hearing.  See  also  the  description  of  Perdita's  violets  in  W.  T.  iv. 
4.  121 :  — 

"  Violets  dim, 

But  sweeter  than  the  lids  of  Juno's  eyes 

Or  Cytherea's  breath." 

The  commentators  have  assumed  that  sweeter  as  applied  to  Juno's 
eyes  must  mean  "more  fragrant,"  on  account  of  the  reference  to 
"  Cytherea's  breath  ";  and  some  of  them  have  even  been  driven  to 
supposing  that  S.  alluded  to  the  Oriental  practice  of  giving  the  eye- 
lids "  an  obscure  violet  colour  by  means  of  some  pigment,  which 
was  doubtless  perfumed  "  —  a  sort  of  painting  with  which  both  Per- 
dita  and  the  poet  would  have  been  disgusted.  But  here  again  we 
simply  have  a  comparison  combining  two  senses  —  sight  and  smell. 
The  violets,  Perdita  says,  are  lovelier  than  the  blue-veined  lids  of 
Juno's  eyes  and  more  fragrant  than  Cytherea's  breath.  The  refer- 
ence to  the  eyelids  is  illustrated  by  V.  and  A.  482 :  "  Her  two  blue 
windows  faintly  she  upheaveth  ;  "  where  the  windows  are  the  eye- 
lids, which  are  called  blue  on  account  of  their  "  blue  veins  "  {R.  of 
L.  440).  They  are  called  windows  again  in  Cymb.  ii.  2.  22 :  — 

"  The  flame  of  the  taper 

Bows  toward  her,  and  would  under-peep  her  lids, 
To  see  the  enclosed  lights,  now  canopied 
Under  these  windows,  white  and  azure,  lac'd 
With  blue  of  heaven's  own  tinct ;" 

and  the  blue  veining  is  also  exquisitely  introduced.  See  also  R. 
and J.  iv.  I.  100:  "the  eyes'  windows  fall." 

9.  Spirit.     Monosyllabic,  as  often  in  S.     Quick  —  lively,  vigor- 
ous ;   as  often. 

10.  That.     In  that.     Cf.  Macb.  iii.  2.  32,  etc. 

12.     Validity.     Value  ;   as  in  R.  and  J.  iii.  3.  33,  etc.     In  A.  W. 
v.  3.  192,  it  is  used  with  reference  to  a  ring.     Fitch  was  literally  a 
in  falconry,  for  the  height  to  which  the  bird  soars.    It  is  often 


Scene  I]  Notes  143 

used  figuratively;  as  in  the  present  passage.    See  also  the  quotation 
in  note  on  I  above,  and  R.  and  J.  i.  4.  21,  Rich.  II.  i.  I.  109,  etc. 

13.  Abatement.     Lower  estimation  (Schmidt). 

14.  Fancy.     Love  ;   as  often.     Cf.  ii.  4.  33  and  v.  i.  391  below. 

15.  Alone.    Preeminently,  par  excellence  (Schmidt).    Cf.  M.  N. 
D.  iii.  2.  119:  "That  must  needs  be  sport  alone ;  "  A.  and  C.  iv.  6. 
30 :  "I  am  alone  the  villain  of  the  earth,"  etc.    High  fantastical  — 
highly  imaginative.     Some  print  "high-fantastical." 

16.  Go  hunt.     Ci.  go  look  (i.  5.  137),  £tf  see  (iii.  3.  20),  etc.     For 
the  play  on  hart,  cf. /.  C.  iii.  I.  207,  A.  Y.  L.  iii.  2.  260,  etc. 

22.  Like  fell  and  cruel  hounds.  The  allusion  is  to  the  story  of 
Actaeon.  Cf.  T.  A.  ii.  3.  63  and  M.  W.  ii.  i.  122,  iii.  2.  44. 
Malone  says  that  S.  undoubtedly  had  in  mind  Daniel's  5th 
Sonnet:  — 

"  Whilst  youth  and  error  led  my  wand'ring  mind, 

And  sette  my  thoughts  in  heedles  waies  to  range, 
All  unawares  a  goddesse  chaste  I  finde, 

(Diana  like)  to  worke  my  suddaine  change. 
******* 
My  thoughts,  like  hounds,  pursue  me  to  my  death,    etc. 

Malone  adds  that  Daniel  seems  to  have  borrowed  the  comparison 
from  Whitney's  Emblems,  1586:  — 

11  those  whoe  do  pursue 

Theire  fancies  fonde,  and  thinges  unlawfull  crave, 
Like  brutishe  beastes  appeare  unto  the  viewe, 
And  shall  at  length  Actseon's  guerdon  have : 
And  as  his  howndes,  so  theire  affections  base 
Shall  them  devoure,  and  all  theire  deedes  deface." 

But  the  story  was  familiar,  and  S.  had  doubtless  read  it  in  Golding's 
Ovid. 

26.  Element.  The  air,  or  sky;  as  in  iii.  i.  60  below.  See  alsoy. 
C.  i.  3.  128,  Hen.  V.  iv.  I.  107,  etc.  Heat  is  a  noun  =  course. 
Johnson  made  heat  a  participle,  as  in  K.John,  iv.  I.  61 :  "The 


144  Notes  [Act  I 

iron  of  itself,  though  heat  red-hot."  Herford  explains  seven  years' 
heat  as  "  seven  summers." 

28.    Cloistress.    Nun  ;  used  by  S.  only  here. 

30.  Eye-offending.  Cf.  K.John,  iii.  I.  47  :  "  foul  moles  and  eye- 
offending  marks."  So  heart-offending,  in  2  Hen.  VI.  iii.  2.  60.  The 
metaphor  in  season  (=  preserve,  keep  fresh,  as  in  the  use  of  brine 
to  preserve  meats)  is  a  favourite  one  with  S.  Cf.  A.  W.  i.  I.  55, 
R.  and  J.  ii.  3.  72,  Much  Ado,  iv.  I.  144,  and  Z.  C.  18. 

32.  Remembrance.  A  quadrisyllable  ;  as  in  W.  T.  iv.  4.  76  : 
"  Grace  and  remembrance  be  to  you  both." 

35.  Golden  shaft.  Cf.  M.  N.  D.  i.  I.  170  :  "By  his  best  arrow 
with  the  golden  head."  In  both  passages  there  may  be  an  allusion  to 
the  two  arrows  mentioned  by  Ovid  {Met.  i.  466) ;  the  one  that  causes 
love  being  "  all  of  gold,  with  point  full  sharp  and  bright "  (Gold- 
ing's  translation).  Cf.  Sidney's  Arcadia  :  "But  arrowes  two,  and 
tipt  with  gold  or  lead."  The  leaden  arrow  was  supposed  to  "  slake 
love,"  or  destroy  it. 

38.   Are  all .  .  .fiWd,  etc.    The  folio  prints  the  passage  thus:  — 

"  When  Liuer,  Braine,  and  Heart, 
These  soueraigne  thrones,  are  all  supply'd  and  fill'd 
Her  sweete  perfections  with  one  selfe  king." 

It  is  commonly  printed  as  follows  :  — 

"  When  liver,  brain,  and  heart, 
These  sovereign  thrones,  are  all  supplied  and  fill'd 
(Her  sweet  perfections)  with  one  self  king." 

Perfections  is  here  considered  to  be  in  apposition  with  thrones,  but 
the  arrangement  is  very  awkward.  It  seems  better  to  read  "  perfec- 
tion," making  the  word  refer  to  the  preceding  sentence.  Clarke, 
who  adopts  this  emendation,  remarks  that  S.  has  alluded  to  this 
notion,  "that  a  woman  was  perfected  by  marriage,"  in  K.John,  ii. 

i-  437  :  — 

"  He  is  the  half  part  of  a  blessed  man, 
Left  to  be  finished  by  such  a  she  ; 


Scene  II]  Notes  145 

And  she  a  fair  divided  excellence, 
Whose  fulness  of  perfection  lies  in  him." 

Knight  quotes  Lord  Berners's  translation  of  Froissart :  "  my  daughter 
should  be  happy  if  she  might  come  to  so  great  a  perfection  as  to  be 
conjoined  in  marriage  with  the  Earl  of  Queries."  Staunton  cites 
Overbury,  The  Wife  :  — 

"  Marriage  their  object  is ;  their  being  then, 
And  now  perfection,  they  receive  from  men;  " 

and  Donne,  Epithalamium  :  — 

11  Weep  not,  nor  blush,  here  is  no  grief  nor  shame  ; 
To-day  put  on  perfection,  and  a  woman's  name." 

See  also  on  ii.  4.  41  below.  The  Cambridge  ed.  follows  the  folio, 
simply  inserting  a  comma  after  supplied,  making  perfections  the  sub- 
ject of  filled  (that  is,  "  her  sweet  perfections  are  filled  with  one  self- 
king"),  but  the  inversion  seems  un-Shakespearian.  Perfection  is  a 
quadrisyllable. 

39.    One  self  king.     One  sole  king  ;   namely,  Love. 

41.   Lie  rich.     Cf.  A.   W.  i.  2.  49  :  — 

"  His  good  remembrance,  sir, 
Lies  richer  in  your  thoughts  than  on  his  tomb." 

See  also  R.  andj.  v.  3.  303. 

SCENE  II.  — 4.  Elysium.  Douce  thinks  that  there  is  a  play  on 
Illyria  and  Elysium,  but,  as  Furness  remarks,  this  is  utterly  out 
of  keeping  with  Viola's  character. 

6.  Perchance.  By  chance;  a  kind  of  play  upon  the  composition 
of  the  word. 

9.  Split.     Cf.   Temp.  i.  I.  65:  "We  split,  we  split!"     See  also 
Id.  v.  I.  223,  C.  of  E.  i.  I.  104,  and  2  Hen.  VI.  iii.  2.  411. 

10.  Those  poor  number.     The  folio  reading,  changed  by  Rowe  to 

TWELFTH    NIGHT —  IO 


146  Notes  [Act  I 

"that  poor  number."  The  recent  editors  generally  retain  those, 
considering  number  as  virtually  plural.  Cf.  i.  5.  91:  "these  set 
kind  of  fools."  The  folio,  which  is  generally  accurate  in  these 
contractions,  has  "  saved,"  not  "  sav'd,"  but  it  is  probably  a  mis- 
print. 

11.  Driving.     Drifting.     S.  does  not  use  drift  as  a  verb. 

12.  Provident.     Used  by  S.  only  here  and  in  Hen.  V.  ii.  4.  II. 

14.  Liv'd upon  the  sea.     We  still  say,  "A  boat  could  not  live  in 
such  a  sea." 

15.  Arion.      The  allusion  is  to  the  classical  story  of  the  minstrel 
Arion,  who,  when  the  sailors  were  about  to  murder  him  for  his 
money,  asked  leave  to  play  a  "  swan-song  "  before  he  died,  after 
which  he  threw  himself  into  the  sea,  and  was  borne  safely  to  land 
by  one  of  the  dolphins  that  had  gathered  about  the  ship  to  listen 
to  his  music.     The   folios  have  "Orion";    and   I   have  seen  the 
same  blunder  in  a  modern  guide-book  in  the  description  of  a  piece 
of  statuary  somewhere  in  Europe.     Halliwell-Phillipps  remarks  that 
the  simile  was  familiar  to  the  poet  and  his  audience,  not  merely 
from  the  classical  story,  but  from  its  frequent  introduction  into  the 
masques  and  pageants  of  the  day.     On  the  passage,  cf.  Temp.  ii.  I. 
113  fol. 

1 6.  Hold  acquaintance  with.     Cf.  A.    W.  ii.  3.  240:  "I  have  a 
desire  to  hold  my  acquaintance  with  thee,"  etc. 

21.  Country.     A  trisyllable,  as  in   Cor.  i.  9.  17:  "As  you  have 
been;   that's  for  my  country;  "  and  2  Hen.   VI.  i.  I.  206:   "And 
common  profit  of  his  country."     See  5  (r),  p.  133  above. 

22.  Bred.      Perhaps  =  begotten,    not    brought    up,   as    in    the 
familiar  modern  phrase  "born  and  bred,"  and  in  M.  for  M.  iv.  2. 
135  :  "A  Bohemian  born,  but  here  nursed  up  and  bred."    But  it  may 
be  a  careless  inversion  of  ideas  such  as  we  find  now  and  then  in  S. 
Furness  compares  Much  Ado,  iv.  i.  228:  "lack'd  and  lost."     See 
also  "  dies  and  lives  "  in  A.  Y.  L.  iii.  5.  7. 

25.  A  noble  duke,  etc.     "  I  know  not  whether  the  nobility  of  the 
name  is  comprised  in  duke  or  in  Orsino,  which  is,  I  think,  the  name 


Scene  II]  Notes  147 

of  a  great  Italian  family"  (Johnson).  The  duke  is  called  count  in 
the  rest  of  the  play.  See  i.  3.  113,  i.  4.  9,  etc.,  below.  Cf.  the 
use  of  duke  for  king  in  L.  L.  L.  ii.  I.  38,  Ham.  iii.  2.  249,  etc. 

28.  I  have  heard,  etc.  "One  of  Shakespeare's  subtle  touches  in 
dramatic  art.  By  the  mention  of  Viola's  father  having  spoken  of 
the  Duke  we  are  led  to  see  the  source  of  her  interest  in  Orsino  ; 
and  by  the  word  bachelor  we  are  made  to  see  the  peculiar  nature  of 
that  interest"  (Clarke).  But,  as  Spedding  notes,  she  thinks  "that 
if  he  were  still  a  bachelor  there  would  be  no  female  court ;  there- 
fore no  fit  place  for  her.  Hearing  that  he  was  not  married,  but 
going  to  be,  her  next  most  natural  resource  would  be  the  lady 
he  was  going  to  marry  —  a  lady,  it  seemed,  well  suited  to  her  case, 
for  she  was  also  an  orphan  maid,  mourning  the  recent  loss  of  an 
only  brother;  and  it  was  only  on  learning  that  there  was  no  chance 
of  obtaining  access  to  her  that  she  resolved  to  disguise  her  sex 
and  seek  service  at  the  court  in  the  character  of  a  page.  This 
would  provide  for  her  immediate  necessity  ;  and  for  her  next  step 
she  would  wait  till  she  saw  her  way." 

30.  Late.     For  the  adverbial  use,  cf.  iii.  i.  39  and  v.  I.  217  below. 

32.  'T  was  fresh  in  murmur.     It  was  a  recent  rumour. 

33.  Less.     Inferior  in  rank.      Cf.  Macb.  v.  4.  12:   "Both  more 
and  less  have  given  him  the  revolt." 

35.  What  's  she?     Who  is  she  ?     Cf.  i.  3.  52  and  i.  5.  119  below. 

36.  A  virtuous  maid.     Not  a  "  widdowe,"  as  John  Manningham 
took  her  to  be.     See  p.  10  above. 

40.  The  company,  etc.  Hanmer's  emendation  of  the  folio  read- 
ing, "  the  sight  And  company  of  men."  Furness  thinks  that  the 
recollection  of  bred  and  born  above,  with  that  of  lacked  and  lost, 
"  might  reasonably  give  us  pause  "  in  accepting  the  transposition. 

42.  And  might  not  be,  etc.  That  is,  until  a  fit  time  shall  come 
for  revealing  my  sex  and  condition.  Cf.  L.  L.  L.  iv.  2.  72  :  "  upon 
the  mellowing  of  occasion  ;  "  and  for  delivered '=  shown,  discovered, 
cf.  Cor.  v.  3.  39  :  "  The  sorrow  that  delivers  us  thus  chang'd ;  " 
and  Id.  v.  6.  141  :  — 


148  Notes  [Act  i 

"  I  '11  deliver 
Myself  your  loyal  servant,"  etc. 

The  folio  has  "delivered,"  but  it  is  probably  a  misprint.     See  on 
10  above. 

48.  Though  that.     For  that  as  a  "  conjunctional  affix,"  cf.  i.  5. 
315,  Hi.  i.  157,  etc.,  below. 

49.  Close  in.     Cf.  M.  of  F.V.I.  6$:  — 

"  But  whilst  this  muddy  vesture  of  decay 
Doth  grossly  close  it  in,  we  cannot  hear  it." 

On  the  passage,  cf.  iii.  4.  349  fol.  :  "  Thou  hast,  Sebastian,"  etc. 

53.  Me.  The  "  redundant  object."  Cf.  i.  5.  260  below  :  "  I  see 
you  what  you  are,"  etc. 

56.  As  an  eunuch.  Viola  was  presented  to  the  duke  as  a  page, 
not  as  a  eunuch,  which  would  have  been  inconsistent  with  the  plot 
of  the  play  (Mason).  Malone  notes  that  eunuchs  were  employed 
to  sing  in  the  pope's  chapel  as  early  as  the  year  1600  ;  and  he 
compares  M.  N.  D.  v.  i .  45  :  — 

"  The  battle  of  the  Centaurs,  to  be  sung 
By  an  Athenian  eunuch  to  the  harp." 

59.   Allow  me,  etc.     Prove  me  to  be  well  worthy,  etc. 
62.    Mute.     Cf.  Hen.  V.  i.  2.  233  :  "  Like  Turkish  mute ;  "  and 
Cymb.  iii.  5.  158  :  "a-  voluntary  mute  to  my  design." 

SCENE  III.—  I.  A  plague.  Cf.  I  Hen.  -IV.  i.  2.  6  :  "What  a 
devil  hast  thou  to  do  with  the  time  of  the  day  ?  "  See  also  Id.  iv. 

2.56. 

7.  Except  before  excepted.  A  law  phrase  {exceptis  excipiendis) . 
Halliwell-Phillipps  quotes  West's  Simboleography,  1605  :  "and  all 
other  the  demised  premises  and  appurtenances  (except  before 
excepted),  according  to  the  true  meaning  of  these  presents,"  etc. 

9.   Modest.     Moderate  ;  as  often.     Cf.  iv.  2.  34  below. 


Scene  III]  Notes  149 

20.  Tall.  Steevens  says  the  word  means  "  stout,  courageous." 
Schmidt  recognizes  this  sense  in  A.  and  C.  ii.  6.  7  :  "  much  tall 
youth ;  "  but  elsewhere,  as  he  notes,  it  is  'used  thus  only  in  irony 
(as  by  Falstaff  in  M.  W.  ii.  2.  n),  or  with  braggardism  (as  by 
Shallow,  in  M.  W.  ii.  I.  237),  or  in  ridicule  (as  in  R.  and  J.  ii.  4. 
31),  or  put  into  the  mouth  of  mean  persons,  like  Bottom,  Grumio, 
Bardolph,  Pistol,  et  al.  It  probably  has  that  sense  here. 

27.  Viol-de-gamboys.  Sir  Toby's  corruption  of  viol  da  gamba, 
an  instrument  which  was  held  between  the  legs  (gamba  =  leg  in 
Italian)  of  the  player,  like  the  modern  violoncello.  Halliwell- 
Phillipps,  among  other  contemporaneous  references  to  it,  quotes 
Middleton,  Trick  to  Catch  the  Old  One,  1608  :  "  She  now  remaines 
at  London  to  learne  fashions,  practise  musicke,  the  voyce  betweene 
her  lips,  and  the  violl  betweene  her  legges." 

30.  All  most  natural.  The  folio  has  "  almost  naturall,"  which 
many  editors  retain  ;  but  Upton's  emendation  is  approved  by  Dyce, 
Furness,  and  others.  There  is  a  play  on  the  ordinary  sense  of 
natural  and  that  of  a  fool;  as  in  Temp.  iii.  2.  37  :  "That  a  mon- 
ster should  be  such  a  natural."  See  also  A.  Y.  L.  i.  2.  52  fol. 

33.  Gust.    Taste,  relish.     Cf.  Sonn.  114.   n  :  "Mine  eye  well 
knows  what  with  his  gust  is  greeing."     In  7\  of  A.  iii.  5.  54  it  is 
=  notion,  idea  ;   and  in    W.   T.  i.  2.  219  it  is  used  as  a  verb  = 
perceive. 

34.  The  gift  of  a  grave.     Mr.  Locke  Richardson  suggests  that 
Maria  means  that  with  his  prodigality,  his  folly,  and  his  quarrel- 
someness, he  may  come  to  grief  in  a  duel,  and  have  to  be  buried 
like  a  pauper  —  literally  "have  the  gift  of  a  grave." 

36.  Substractors.  Warburton  thought  it  necessary  to  change 
Sir  Toby's  blunder  for  "  detractors  "  to  "  subtracters." 

42.  Coystril.     A  mean  fellow.     The  word  occurs  again  in  Per. 
iv.  6.  176  (a  scene  probably  not  written  by  S.). 

43.  A  parish-top.     "A  large  top  was  formerly  kept   in    every 
village,  to  be  whipped  in  frosty  weather,  that  the  peasants  might 
be  kept  warm  by  exercise,  and  out  of  mischief,  when  they  could  not 


1 50  Notes  [Act  i 

work  "  (Steevens).  The  custom  is  often  alluded  to  in  the  literature 
of  that  time. 

44.  Castiliano  vulgo.  "Spanish  of  Sir  Toby's  own  making" 
(Schmidt),  and  not  easily  translated.  Warburton  changed  it  to 
"  Castiliano  volto,"  and  explained  it  as  =  "  put  on  your  Castilian 
countenance ;  that  is,  your  grave,  solemn  looks."  Even  if  that  is 
the  meaning,  the  blunder  is  probably  intentional,  as  in  viol-de- 
gamboys  above.  Clarke  thinks  it  may  mean,  "  Be  as  reticent  as  a 
Castilian  now  that  one  of  the  common  herd  is  coming." 

51.   Accost.     S.  uses  the  word  only  here. 

59.  Board.  Accost,  address;  as  often.  Cf.  M.  W.*\\.  I.  92, 
L.  L.  L.  ii.  i.  218,  etc. 

71.  Thought  is  free.     A   proverbial    expression.      Holt   White 
quotes  Lyly,  Euphues,  1581  :  "None    (quoth  she)    can  judge  of 
wit  but  they  that  have  it ;   why  then  (quoth  he)  doest  thou  think 
me  a  fool  ?    Thought  is  free,  my  Lord,  quoth  she." 

72.  Bring  your  hand  to  the  buttery-bar,  etc.     "A   proverbial 
phrase  among  forward  Abigails,  to  ask  at  once  for  a  kiss  and  a 
present"  (Dr.  Kenrick).     The  buttery  was  the  place  where  food 
and  drink  were  kept,  and  the  bar  was  where  these  were  served  out. 
Cf.  T.  of  S.  ind.  I.  102  :  — 

"  Go,  sirrah,  take  them  to  the  buttery, 
And  give  them  friendly  welcome  every  one ; 
Let  them  want  nothing  that  my  house  affords." 

73.  Sweet-heart.    Printed   as    two   words   in    the    folio.      It    is 
accented  on  the  last  syllable  by  S.  except  in  W.  T.  iv.  4.  164  and 
2  Hen.  IV.  ii.  4.  197. 

75.  It 's  dry.  A  dry  hand  was  considered  a  sign  of  age  and 
debility  (see  2  Hen.  IV.  i.  2.  204),  or  of  a  cold  nature.  Maria 
plays  upon  this  sense  of  dry  and  the  familiar  one  of  thirsty,  as  she 
afterwards  quibbles  on  barren,  which  sometimes  meant  witless ;  as 
in  Ham.  iii.  2.  46.  For  dry  =  dull,  stupid,  cf.  i.  5.  42. 

83.    Canary.     Wine  from  the  Canary  Islands.     Cf.  M.  W.  iii.  2. 


Scene  III]  Notes  1 5 1 

89  :  "I  will  to  my  honest  knight  Falstaff,  and  drink  canary  with 
him." 

88.  Beef.  Cf.  T.  and  C.  ii.  I.  14  :  "Thou  mongrel  beef-witted 
lord  !  "  which,  however,  may  mean  "  with  no  more  wit  than  an  ox  " 
(Schmidt).  Halliwell-Phillipps  quotes  Borde,  Regyment  of  Healthe, 
1567  :  "  Beefe  is  good  meate  for  an  Englysshman,  so  be  it  the  beest 
be  yonge,  and  that  it  be  not  cowe  flesshe,  for  olde  befe  and  cowe 
flesshe  doth  ingendre  melancholy  and  leprouse  humours  "  ;  and 
Randolph's  Poems  :  — 

"  Ere  they  compose,  they  must  for  a  long  space 
Be  dieted  as  horses  for  a  race. 
They  must  not  bacon,  beef,  or  pudding  eat; 
A  jest  may  chance  be  starv'd  with  such  grosse  meat." 

96.  Fencing,  dancing,  and  bear-baiting.  All  these  were  fashion- 
able amusements  of  the  time.  See  also  on  iii.  I.  122. 

98.  An  excellent  head  of  hair.  Mr.  Joseph  Crosby  in  an  article 
on  "  Shakespeare's  Puns  "  in  the  American  Bibliopolist  (June,  1875, 
p.  143)  says :  "  I  well  remember  how  sorely  puzzled  I  used  to  be 
over  this  dialogue.  ...  I  was  reluctantly  on  the  point  of  giving 
up  the  conundrum  when  it  dawned  on  me  that  the  facetious  knight 
had  made  a  pun — a  first-class  pun  too  —  on  the  word  tongues  ;  and 
then  all  was  clear,  and  the  joke  '  as  plain  as  the  way  to  parish- 
church.'  His  imagination  had  seized  upon  Sir  Andrew's  tongues 
and  converted  them  into  tongs  —  curling-tongs  —  the  very  article 
required  in  Sir  Andrew's  toilet  to  '  mend '  his  hair  withal,  which, 
without  their  assistance,  hung  'like  flax  on  a  distaff,'  and  most  per- 
sistently and  stubbornly  refused  to  '  curl  by  nature?  "  Tongues 
and  tongs  were  pronounced  alike.  In  the  early  eds.  tongues  is 
sometimes  spelt  "tongs"  or  "tonges."  But,  as  Furness  notes, 
Mr.  Crosby  was  not  the  first  to  explain  the  pun. 

115.  There  's  life  in  V.  Cf.  Lear,  iv.  6.  206  :  "Then,  there  's 
life  in  't." 

120.   Kickshawses.      Spelt   "  kicke-chawses "  in  the  1st  and  2d 


152  Notes  [Act  I 

folios.  Some  editors  give  "kickshaws,"  but  the  blunder  was  no 
doubt  intentional.  Cf.  2  Hen.  IV.  v.  I.  29:  "pretty  little  tiny 
kickshaws." 

123.  I  will  not  compare,  etc.  This  was  probably  meant  to  be 
a  piece  of  the  knight's  stupid  irrelevancy  ;  but  various  attempts 
have  been  made  to  explain  it.  Warburton  thought  it  "  a  satire  on 
that  common  vanity  of  old  men,  in  preferring  their  own  times  and 
the  past  generation  to  the  present."  Steevens  says  :  "  Aguecheek, 
though  willing  enough  to  arrogate  to  himself  such  experience  as  is 
commonly  the  acquisition  of  age,  is  yet  careful  to  exempt  his  person 
from  being  compared  with  its  bodily  weakness."  Clarke  thinks 
that  an  old  man  is  =  "a  man  of  experience,"  and  that  "the  word 
old  gives  precisely  that  absurd  effect  of  refraining  from  competing 
in  dancing,  fencing,  etc.,  with  exactly  the  antagonist  incapacitated 
by  age  over  whom  even  Sir  Andrew  might  hope  to  prove  his 
superiority." 

125.  Galliard.  A  lively  French  dance.  Cf.  Hen.  V.  i.  2.  252; 
the  only  other  instance  in  which  S.  has  the  word. 

128.  The  mutton.   The  pun  here  shows  that  the  association  of 
capers  with  boiled  mutton  is  as  old  as  that  of  apple-sauce  with 
roast  goose  on  which  Romeo  quibbles  in  R.  and  J.  ii.  4.  85.     Cf. 
also  the  reference  to  beef  and  mustard  in    T.  of  S.  iv.  3.  23  and 
M.  N.  D.  iii.  i.  197. 

129.  Back-trick.     A   caper   backwards    in    dancing.      Schmidt 
thinks  there  may  be  a  quibble  on  "  the  trick  of  going  back  in  a 
fight";   but  perhaps  that  is  giving  Sir  Andrew  credit  for  too  much 
wit.     Some  explain  the  word  as  =  a  back-handed  stroke  with  the 
sword. 

133.  Mistress  MalVs  picture.  Steevens  has  been  generally  fol- 
lowed in  explaining  this  as  a  reference  to  Mary  Frith,  otherwise 
known  as  "  Mall  Cutpurse,"  a  noted  character  of  Shakespeare's 
time,  of  whom  a  full  account  may  be  found  in  Chambers's  Book  of 
Days,  vol.  ii.  p.  670  ;  but  if  she  was  born  in  1589  (or  even  in  1584, 
as  Malone  says),  it  is  hardly  probable  that,  with  all  her  precocity 


Scene  III]  Notes  153 

in  bad  ways,  she  had  become  notorious  in  1600  or  1601,  when  this 
play  was  written.  No  allusion  to  her  of  so  early  a  date  has  been 
found  by  the  commentators,  the  earliest  being  a  more  than  doubt- 
ful one  of  1602.  A  book  entitled  The  Madde  Prancks  of  Merry 
Mall  of  the  Bankside,  by  John  Day,  was  published  in  1610  ;  and 
Middleton  and  Dekker  made  her  the  heroine  of  a  comedy,  The 
Roaring  Girl,  or  Moll  Cutpurse,  printed  in  1611.  Schmidt 
remarks :  "  Perhaps  Sir  Toby  only  means  to  say :  like  a  picture 
intended  for  a  beauty,  but  in  fact  representing  Mall,  the  kitchen- 
wench."  Mr.  John  F.  Marsh  {Notes  and  Queries,  July  6  and 
Nov.  30,  1878)  argues  that  Mall's  is  =  Maria's.  I  am  inclined  to 
agree  with  Singer  that  "Mistress  Mall  is  a  mere  impersonation, 
like  'my  lady's  eldest  son'  in  Much  Ado"  On  the  practice  of 
protecting  pictures  by  curtains,  cf.  i.  5.  242  below. 

135.  Coranto.  Another  lively  dance,  for  which  see  Hen.  V. 
iii.  5.  33  and  A.  W.  ii.  3.  49. 

138.  Under  the  star,  etc.  An  astrological  allusion.  Cf.  i.  4.  35, 
ii.  i.  3,  and  ii.  5.  155,  183  below. 

140.  Flame-coloured.  Rowe's  emendation  of  the  "  dam'd  col- 
our'd  "  of  the  folios.  We  have  flame-coloured  in  I  Hen.  IV.'\.2.  1 1  : 
"flame-coloured  taffeta."  Sundry  other  emendations  have  been 
proposed,  and  attempts  have  been  made  to  explai»  the  folio  read- 
ing. Stock  —  stocking  ;  as  in  T.  G.  of  V.  iii.  I.  312,  T.  of  S.  iii. 
2.  67,  and  i  Hen.  IV.  ii.  4.  130.  Steevens  quotes  Jack  Drum's 
Entertainment,  1601  :  "Or  would  my  silk  stock  should  lose  his 
gloss  else." 

144.  That  's  sides  and  hearts.  In  that  classic  annual,  The  Old 
Farmer's  Almanac,  may  still  be  seen  the  ancient  astrological  figure 
of  the  human  body  with  lines  radiating  from  its  various  parts  to  the 
symbols  of  the  zodiacal  signs  ;  and  in  the  column  devoted  to  the 
"  moon's  place  "  in  the  calendar  pages  the  names  of  the  parts  of 
the  body  are  given  instead  of  the  corresponding  signs.  It  is  to  be 
noted  that  Sir  Andrew  and  Sir  Toby  are  both  wrong  in  the  parts 
they  assign  to  Taurus.  The  latter  either  burlesques  the  former's 


154  Notes  [Act  i 

ignorance   or   takes  advantage  of  it   for   the   sake    of  argument. 
Taurus  was  supposed  to  govern  the  neck  and  throat. 

SCENE  IV.  —  3.  Three  days.  As  Mr.  P.  A.  Daniel  points  out  in 
his  paper  "  On  the  Times  or  Durations  of  the  Action  of  Shakspere's 
Plays,"  read  before  the  New  Shakspere  Society,  Nov.  8,  1878,  there 
is  a  statement  inconsistent  with  this  in  v.  i.  100  below,  where  the 
Duke  says  :  "  Three  months  this  youth  hath  tended  on  me." 

5.  Humour.  Capriciousness  (Furness).  Cf.  A.  Y.  L.  i.  2.278: 
"The  duke  is  humorous;"  K.  John,  iii.  I.  119:  "her  humorous 
ladyship  "  (Fortune),  etc. 

9.    Count.     See  on  i.  2.  25  above. 

13.  No  less  but.  No  less  than.  Cf.  M.  for  M.  v.  I.  237:  "No 
more  But  instruments,"  etc. 

/  have  unclasped,  etc.  The  metaphor  is  a  favourite  one  with  S. 
Cf.  i  Hen.  IV.  i.  3.  188  :  "And  now  I  will  unclasp  a  secret  book." 
See  also  Much  Ado,  i.  I.  325,  W.  T.  iii.  2.  168,  and  T.  and  C.  iv. 
6.60. 

1 6.   Access.     S.  accents  the  word  on  either  syllable. 

20.    Spoke.     Said.     Cf.  Macb.  iv.  3.  154,  Oth.  v.  2.  327,  etc. 

22.    Unprofited.     Profitless  ;   used  by  S.  nowhere  else. 

27.  Attend,    ff.  R.  of  L.  818:   "Will  tie  the  hearers  to  attend 
each  line,"  etc. 

28.  Aspect.     The  regular  accent  in  S.  The  folio  has  "  Nuntio's  " 
for  nuncio.     The  change  of  case  was  made  by  Theobald,  but  is 
perhaps  not  absolutely  required. 

30.  Yet.  Implying  that  Viola's  youthful  appearance  will  last  for 
many  a  day  to  come  (Furness). 

32.  Rubious.  Red,  rosy  ;  used  by  S.  only  here.  Cf.  "  rubied  ' 
in  Per.  v.  prol.  8.  On  pipe  =  voice,  cf.  Cor.  iii.  2.  113:  — 

"  my  throat  of  war  be  turn'd, 
Which  quired  with  my  drum,  into  a  pipe 
Small  as  an  eunuch,  or  the  virgin  voice 
That  babies  lulls  asleep !  " 


Scene  V]  Notes  155 

33.  And  sound.  «•  Some  would  change  this  to  "in  sound  ";   but 
as  Clarke  notes,  sound  =  clear,  uncracked.     A  boy's  voice  is  shrill, 
but  not,  like  a  girl's,  perfectly  sound,  or  pure  in  tone. 

34.  Semblative.     Seeming  like,  suited  to.     Female  parts  on  the 
stage  were  then  played  by  boys.     S.  uses  semblative  only  here  ;  and 
the  same  is  true  of  constellation  in  the  next  line.     For  the  astrologi- 
cal allusion  in  the  latter  word,  see  on  i.  3.  138  above. 

39.    As  freely,  etc.    "That  is,  as  free  to  use  my  fortune  as  I  am." 
41.    Barful.     Full  of  impediments;    another  word  used  by  S. 
only  once. 

SCENE  V.  —  3.  Hang  thee.  This  must  be  said  playfully  ;  as  the 
worst  punishment  inflicted  on  the  domestic  fool  appears  to  have 
been  whipping.  Cf.  A.  Y.  L.  i.  2.  91,  Lear,  i.  4.  197,  etc. 

6.  Fear  no  colours.  Fear  no  enemy;  probably  at  first  a  military 
metaphor,  as  Maria  explains  just  below.  The  expression  occurs 
again  in  2  Hen.  IV.  v.  5.  94.  Halliwell-Phillipps  quotes  Cotgrave, 
Fr.  Diet. :  "  Adventureux,  hazardous,  adventurous,  that  feares  no 
colours";  and  The  Trumpet  of  Fame,  by  H.  R.,  1595: — 

"  Then  fear  no  colours,  set  the  chance  on  Christ ! 
He  is  your  load-star,  God  of  power  highest." 

9.  Lenten.  "Scanty,  poor,  answering  modest  expectations" 
(Schmidt).  Johnson  explains  the  phrase  as  =  "a  lean,  or  as  we 
now  call  it,  a  dry  answer."  Clarke  suggests  that  while  Maria  seems 
to  praise  the  clown's  answer  for  being  brief,  she  hints  that  it  is 
scant  or  bare  of  wit. 

15.  Let  them  use  their  talents.  Make  the  best  use  of  such  abili- 
ties as  they  have. 

17.  Or  to  be  turned  away.  The  folio  joins  this  to  what  precedes, 
and  that  construction  has  been  defended. 

20.  For  turning  away,  etc.  As  for  being  turned  away,  I  care 
not,  so  that  it  be  in  summer,  when  I  can  find  employment  in  every 
field  and  lodging  under  every  hedge  (Steevens). 


i56 


Notes  [Act  i 


25.  If  one  break.  Maria  plays  upon  the  word  points  as  applied 
to  the  metal  hooks  by  which  the  gaskins,  or  galligaskins  (a  kind 
of  loose  breeches),  were  attached  to  the  doublet,  and  thus  kept 
from  falling  down.  Cf.  T.  of  S.  iii.  2.  49 :  "  with  two  broken  points." 
See  also  I  Hen.  IV.  ii.  4.  238  and  A.  and  C.  iii.  13.  157. 

29.   A  piece  of  Eve's  flesh.     Cf.  Much  Ado,  iv.  2.  85,  A.  Y.  L.  iii. 

2.  68,  etc. 

31.    You  were  best.     Originally  the  pronoun  was  dative  (it  were 
best  for  you),  but  it  came  to  be  regarded  as  nominative. 
36.    Quinapalus.     A  philosopher  known  only  to  the  clown. 
42.   Dry.     Sapless,  insipid,  dull.     Cf.  A.  Y.  L.  ii.  7.  39 :  — 

11  his  brain, 

Which  is  as  dry  as  the  remainder  biscuit 
After  a  voyage ;  " 

and  see  also  L.  L.  L.  v.  2.  373,  T.  and  C.  i.  3.  329,  etc. 

44.  Madonna.  Cf.  Florio,  Worlde  of  Wordes,  1598:  "Ma- 
donna, mistres,  mistres  mine,  madam." 

47.  Dishonest.     Lewd  (Schmidt);   as  in  M.  W.  iii.  3.  196,  iv.  2. 
104,  Hen.  V.  i.  2.  49,  etc.     So  honest  often  =  chaste  ;   as  in  M.  IV. 

1.  4.  148,  ii.  I.  247,  ii.  2.  230,  Oth.  iii.  3.  384,  iv.  2.  12,  38,  etc. 

48.  Botcher.     Mender  of  old  clothes  (Schmidt).     Cf.  A.  W.  iv. 

3.  21 1 :  "a  botcher's  prentice  in  Paris  ";    Cor.  ii.  I.  98 :  "a  botcher's 
cushion,"  etc. 

51.  Syllogism.     The  word  is  used  by  S.  nowhere  else. 

52.  So.    So  be  it,  well  and  good.     Cf.  M.  of  V.  i.  3.  170:  "If 
he  will  take  it,  so;   if  not,  adieu." 

57.  Misprision.     Mistake,  misapprehension.     Cf.  M.  N.  D.  iii. 

2.  90 :  — 

"  Of  thy  misprision  must  perforce  ensue 
Some  true  love  turn'd,  and  not  a  false  turn'd  true ;  " 

Much  Ado,  iv.  I.  187:  "There  is  some  strange  misprision  in  the 
princes,"  etc. 

58.  Cucullus  non  facit  monachum.     A  cowl  does  not  make  a 


Scene  V]  Notes  157 

monk  ;  that  is,  wearing  motley  does  not  prove  me  a  fool.  For 
motley,  cf.  A.  Y.  L.  ii.  7.  34,  58,  etc. 

As  much  to  say  as.  The  same  arrangement  occurs  in  2  Hen.  VI. 
iv.  2.  1 8,  and  is  found  in  other  writers  of  the  time. 

62.  Dexteriously.  The  4th  folio  changes  the  word  to  "  dexter- 
ously"; but  the  blunder  was  probably  intentional. 

65.  Good  my  mouse  of  -virtue.     For  mouse  as  a  term  of  endear- 
ment, cf.  Ham.  iii.  4.  183:    "call  you  his  mouse,"  etc.     For  the 
arrangement,  cf.  "good  my  lord,"  etc. 

66.  Idleness.      Pastime,   means  of  whiling  away    an  idle   hour. 
.Schmidt  explains  it  as  "  frivolousness,  vanity."     Furness  remarks : 
"The  interpretation  of  idle  should  be  always  approached  with  fear 
and   trembling.  ...  It  is  the  most    fatal  single  word  in  dramatic 
literature,  possibly  in  all  literature.     Owing  to  Macready's  interpre- 
tation of  it  in   Hamlet's  *  I   must   be  idle,'   twenty-three  persons 
were  killed  outright,  and  as  many  more  horribly  mutilated."     This 
was  in  the  riot  at  the  Astor  Place  Opera  House,  in  New  York, 
May  10,  1849. 

78.  Decays.  For  the  transitive  sense,  cf.  Sonn.  65.8:  "Nor 
gates  of  steel  so  strong  but  Time  decays."  See  also  Cymb.  i.  5.  56. 

86.  Barren.     Dull  ;   as  in  M.  N.  D.  iii.  2.  13:  "The  shallowest 
thick-skin  of  that  barren  sort,"  etc.     See  on  i.  3.  75  above. 

87.  With  =  by  ;   as  very  often. 

91.  These  set  kind.     Cf.  Lear,  ii.  2.  107  :  "  These  kind  of  knaves 
I  know,"  etc.     See  also  i.  2.  10  above.      For  crow,  cf.  A.  Y.  L.  ii. 
7.  30  and  T.  G.  of  V.  ii.  i.  28. 

92.  Fools'  zanies.     Subordinate  buffoons  whose  office  it  was  to 
make  awkward  attempts  at  mimicking  the  tricks  of  professional 
clowns.     The  word  occurs  again  in  L.  L.  L.  v.  2.  463. 

94.  Distempered.  Disordered,  diseased.  Cf.  Ham.  iii.  2.  312, 
etc. 

96.  Bird-bolts.     Blunt-headed  arrows.     Cf.  Much  Ado,  i.  I.  43 
and  L.L.  L.  iv.  3.  25. 

97.  Allowed.    Licensed.    Cf,  L,  L.  L.  v.  2.  478 :    "  go,  you  are 


158  Notes  [Act  I 

allow'd "  (that  is,  as  here,  a  licensed  fool).  In  Hollyband's 
Dictionariet  1593,  mention  is  made  of  "an  allowed  cart  or 
chariot." 

100.  Leasing.  A  euphemism  for  lying  (Schmidt).  Cf.  Cor.  v. 
2.  22 :  "  Have  almost  stamp'd  the  leasing."  Johnson  explains  the 
passage  thus :  "  May  Mercury  teach  thee  to  lie,  since  thou  liest 
in  favour  of  fools !  "  Heath  more  aptly  suggests  that  the  Fool 
humorously  intimates  that  "whoever  undertook  the  defence  of 
fools  would  have  plentiful  occasion  "  for  lying. 

103.   Much  desires.     The  omission  of  the  relative  is  common. 

109.  Speaks  nothing  but  madman.  Cf.  Hen.  K  v.  2.  156:  "I 
speak  to  thee  plain  soldier  ";  Oth,  ii.  3.  281 :  "  speak  parrot,"  etc. 

117.  For  —  here  he  comes,   etc.     I  adopt  the  pointing  of  the 
Cambridge  ed.     The  common  reading  is,  "for  here  he  comes,  one 
of  thy  kin,  has  [that  is,  who  has]  a  most  weak  pia  mater." 

1 1 8.  For  pia  mater,  cf.  L.  L.  L.  iv.  2.  71  and  T.  and  C.  ii.  I.  77. 
In  Holland's  translation  of  Pliny's  Nat.  History,  it  is  spoken  of  as 
"  the  fine  pellicle  called  pia  mater,  which  lappeth  and  enfoldeth 
the  braine." 

119.  What.     Who.     Cf.  i.  2.  35  and  i.  3.  52  above. 

124.  Pickle-herring.  Many  of  the  editors  have  followed  Malone 
in  changing  this  to  "pickle-herrings";  but  it  is  a  legitimate  plural, 
like  trout,  salmon,  and  other  names  of  fishes.  Cf.  Lear,  iii.  6.  33 : 
"  two  white  herring."  The  regular  form  of  the  plural  is  also  used, 
as  in  the  case  of  some  other  nouns  of  this  class.  See  iii.  I.  37 
below.  Clarke  quotes  the  Spectator,  where  "  pickled  herrings  "  is 
mentioned  as  a  nickname,  and  adds :  "  Thus  Sir  Toby,  asked  what 
sort  of  gentleman  the  youth  at  the  gate  is,  intends  to  describe 
him  scofftngly,  while  a  reminiscence  of  his  last-eaten  provocative 
to  drink  disturbs  him  in  the  shape  of  a  hiccup  " ;  but  I  doubt  whether 
any  such  double  meaning  was  intended. 

135.  Above  heat.  According  to  Steevens,  this  means  "above 
the  state  of  being  warm  in  a  proper  degree."  Schmidt  makes 
heat  =  thirst;  and  compares  K.  John,  iii^i.  341 :  "A  rage  whose 


Scene  V]  Notes  159 

heat  hath  this  condition,"  etc.  Clarke,  who  adopts  Steevens's 
explanation,  refers  to  Falstaffs  eulogium  on  "  sherris-sack," 
2  Hen.  IV.  iv.  3.  no:  "The  second  property  of  your  excellent 
sherds  is  the  wanning  of  the  blood,"  etc. 

137.  Cr owner.  Rowe  thought  it  necessary  to  change  this  to 
"  coroner  ";  but,  as  Schmidt  notes,  "  the  Shakespearian  form  of  the 
word  is  crowner."  He  uses  it  only  here  and  in  Ham.  v.  I.  4,  24. 

151.  He  has.     The  folio  has  "Ha  Js,"  and  some   editors  print 
"  Has." 

152.  A  sheriffs  post.     It  was  the  custom  for  a  sheriff  to  have 
posts  set  up  at  his  door,  to  which  proclamations  and  other  public 
notices   were   affixed.      Jonson,   in   his    Every   Man    Out  of  his 
Humour,  refers  to  these  "  Shrives  posts";   and  many  similar  illus- 
trations might  be  cited  from  writers  of  the  time- 

159.  Personage.  Personal  appearance;  as  in  M.  N.  D.  iii.  2. 
292 :  "  And  with  her  personage,  her  tall  personage,"  etc.  Cf. 
Udall's  Roister  Doister,  1553:  "For  your  personage,  beautie,  de- 
meanour and  wit." 

161.  Squash.  An  immature  pea-pod.  See  M.  N.  D.  iii.  I.  191; 
and  im  peascod,  A.  Y.  L.  ii.  4.  52.  Codling,  used  by  S.  only  in  this 
passage,  obviously  means  here  an  unripe  apple.  The  present  Eng- 
lish application  of  the  word  to  a  particular  kind  of  apple  was 
unknown  in  his  day. 

163.  In  standing  water.     That  is,  between  the  ebb  and  the  flood 
of  the  tide  (Schmidt).    Cf.  Temp.  ii.  I.  221  :  "Well,  I  am  standing 
water."     The  use  of  in  (  —  in  the  condition  of)  is  not  infrequent. 

164.  Well-favoured.     Good-looking.     Cf.  Much  Ado,  iii.  3.   15, 
Lear,  ii.  4.  259,  etc.     See  also  favour  (=  face,  aspect)  in  ii.  4.  25 
and  iii.  4.  313,  366  below. 

165.  Shrewishly.      Sharply,  pertly.     S.  uses  the  word  nowhere 
else.     Shrewish  occurs  only  in  C.  of  E.  iii.  I.  2,  and  shrewishness 
only  in  M.  N.  D.  iii.  2.  301.     Clarke  remarks  here  :  "  It  is  worthy 
of  note,  not  only  how  Olivia  is  so  much  struck  by  the  sauciness  of 
the  page-messenger,  whose  manner  is  so  different  from  the  usual 


1 60  Notes  [Act  i 

deference  with  which  Orsino's  envoys  treat  her  as  to  interest  her  in 
the  youth  even  before  she  sees  him,  but  it  is  also  to  be  remarked 
how  Viola  assumes  flippancy  when  coming  from  the  Duke,  although, 
while  in  his -house,  speaking  to  either  himself  or  his  gentlemen,  she 
maintains  the  most  quiet,  distant,  and  even  reservedly  dignified 
speech  and  conduct." 

176.  Unmatchable.  Cf.  K.  John,  iv.  3.  52 :  "And  this  so  sole 
and  so  unmatchable,"  etc. 

182.  Comptible.  Sensitive,  or  "  susceptible  "  (Harness).  S.  uses 
the  word  only  here. 

1 88.  Are  you  a  comedian?    "Olivia's  sarcasm  at  the  acting  a 
part  which  the  delivery  of  a  set  speech  implies  "  (Clarke).     Furness 
suggests  that  "  the  sting  is  in  the  word  comedian,  the  social  brand 
thereby  implied  being  almost  of  the  lowest." 

189.  Profound.    Sage,  wise  ;  as  in  L.  L.  L.  iv.  3.  168 :  "profound 
Solomon." 

192.  Usurp.      Cf.   v.    I.   242   below:    "my   masculine   usurp'd 
attire." 

193.  Most  certain,  etc.     Furness  paraphrases  thus:  "If  it  be  in 
your  power  to  give  away  the  lordship  of  this  house,  it  is  so  right- 
fully your  duty  to  do  it  that,  if  you  do  not  do  it,  you  are  a  usurper 
of  the  lord  on  whom  you  should  bestow  it  —  that  is,  of  course,  on 
Orsino."     For  myself,  I  doubt  whether  there  is  any  such  reference 
to  the  "  lordship  of  the  house."    Viola  has  pretended  that  she  does 
not  know  Olivia  is  the  lady  of  the  house.    When  Olivia  admits  that 
she  is  that  lady,  Viola  recognizes  her  as  the  lady  to  whom  she  has 
been  sent,  and  whom  her  master  loves.     In  reply  to  Olivia's  "  If  I 
do  not  usurp  myself,"  she  says  in  substance :   "  You  do  usurp  your- 
self in  not  giving  yourself  to  the  man  who  loves  you  and  is  worthy 
of  you.     This  gift  of  yourself  is  yours  to  bestow,  for  it  is  not  already 
pledged  to  another,  and  therefore  you  should  not  refuse  Orsino's 
suit."     That  the  lady  does  not  love  him  does  not  occur  to  Viola  as 
a  reason  for  refusing  him ;  she  herself  loves  the  man  and  feels  that 
Olivia  must  certainly  come  to  love  him  if  she  marries  him.    Furness 


Scene  V]  Notes  l6l 

adds  :  "  In  thus  earnestly  pleading  Orsino's  cause,  Viola  was  here,  I 
think,  for  a  moment  betrayed  into  seriousness.  She  instantly  sees, 
however,  that  this  tone  is  premature,  and  apologizes,  '  But  this  is 
from  my  commission.'  Her  bearing  is  forced  and  unnatural,  even 
flippant,  until  Maria  has  retired,  then  it  becomes  serious,  and  every 
word  comes  from  her  heart."  I  agree  with  Furness  entirely  except 
in  his  explanation  of  what,  which  seems  to  me  to  refer  unquestion- 
ably to  Olivia's  very  self,  not  merely  to  "  the  lordship  of  her  house." 

195.  From.  Away  from,  apart  from.  Cf.  Temp.  i.  i.  65: 
"Which  is  from  my  remembrance";  and  v.  I.  335  below:  "Write 
from  it  if  you  can." 

198.  Forgive.  Excuse  you  from,  spare  you  the  trouble  of.  Cf. 
Z.  L.  L.  iv.  2.  147 :  "  I  forgive  thy  duty,"  etc. 

202.  Feigned.  Cf.  A.  Y.  L.  iii.  3.  19:  "No,  truly;  for  the  truest 
poetry  is  the  most  feigning,"  etc. 

205.  Not  mad.  Some  editors  omit  not ;  but  Clarke  remarks  : 
"  S.  has  sometimes  these  apparent  antitheses  ;  and  here  we  believe 
he  means  Olivia  to  say,  *  If  you  are  not  quite  without  reason,  be 
gone ';  giving  the  effect  of  antithetical  construction  without  actually 
being  so." 

207.   Skipping.     Wild,  frolic,  mad   (Johnson).     Cf.  M.  of  V.  ii. 

2.  196  :  — 

"  take  pain 

To  allay,  with  some  cold  drops  of  modesty, 
Thy  skipping  spirit." 

See  also  Z.  Z.  Z.  v.  2.  771  and  I  Henry  IV.  iii.  2.  60.  For  the 
allusion  to  the  moon  as  causing  lunacy  (I  need  not  refer  to  the 
derivation  of  the  word),  cf.  Oik.  v.  109,  etc. 

210.  Swabber.  One  who  scrubs  the  deck  of  a  ship.  Viola  takes 
up  the  nautical  metaphor  of  hoist  sail,  and  turns  it  contemptuously 
against  Maria.  Cf.  Temp.  ii.  2.  48  :  "  The  master,  the  swabber,  the 
boatswain,  and  I,"  etc.  Hull  means,  literally,  to  drift  to  and  fro 
without  sails  or  rudder  ;  here  =  to  float.  Cf.  Kick.  III.  iv.  4.  438 : 
"  And  there  they  hull "  ;  and  Hen.  VIII.  ii.  4.  199  :  — 

TWELFfH  NIGHT — II 


1 62  Notes  [Act  i 

"  Thus  hulling  in 

The  wild  sea  of  my  conscience,  I  did  steer 
Toward  this  remedy." 

211.  Some  mollification,  etc.     Something  to  pacify  your  gigantic 
waiting-maid  ;   a  hit  at  the  diminutive  Maria,  with  an  allusion  to 
the  giants  who  guard  ladies  in  the  old  romances.     "  It  is  pleasant  to 
see  the  playful  tone  that  Viola  falls  into  now  that  she  is  with  those 
of  her  sex"  (Clarke). 

212.  Tell  me  your  mind,  etc.      There  seems  to  be  some  corrup- 
tion here.      Hanmer  and  some  other  editors  have  adopted  the  cori- 
jecture  of  Warburton  that  Tell  me  your  mind  belongs  to  Olivia,  and 
/  am  a  messenger  to  Viola.     Dyce  believes  that  something  more  than 
the  names  of   the  speakers   is  omitted  in  the  folio.      Furness  is 
inclined  to  accept  Capell's  explanation  of  the  folio  text,  that  Viola's 
"  Tell  me  your  mind  "  is  —  "  Shall  I  have  this  favour  from  you  ?  " 
alluding  to  what  she  had  just  asked  ;   or,  as  Hunter  puts  it,  "Viola 
evidently  appeals  to  Olivia  whether  she  will  suffer  Maria  to  turn  her 
out  of  the  house  so  unceremoniously."     Furness  thinks  that  "  it  is 
not  extravagant  to  picture  Maria's  zeal  as  so  warm  that  she  attempts 
to  force  Viola  from  the  apartment."     The  context  does  not  give  the 
slightest  support  to  this  explanation,  but,  aside  from  that,  it  seems  to 
me  a  mere  "  trick  of  desperation."    The  petite  Maria  would  not  at- 
tempt to  put  a  young  man  out  of  doors,  but  if  she  had  done  it  Olivia 
would  not  have  allowed  it  to  pass  without  a  shar^  reproof.      I  let 
the  old  text  stand  because  I  am  not  entirely  satisfied  with  the  only 
emendation  that  has  been  suggested  ;   but  as  it  stands,  it  is  to  me 
utterly  inexplicable. 

216.  //  alone  concerns  your  ear.      It  concerns  your  ear  alone. 
The  transposition  is  not  uncommon. 

217.  Taxation.     Claim,  demand. 

223.  My  entertainment.  My  reception,  the  way  I  have  been 
treated.  Cf.  Temp.  i.  2.  465  :  "  I  will  resist  such  entertainment  " 
(that  is,  treatment);  and  V.  and  A.  no8:  "Witness  the  enter- 
tainment that  he  gave." 


Scene  V]  Notes  1 63 

224.  Maidenhead.  Changed  by  Theobald  to  "  maidhood  "  ;  but 
in  the  time  of  S.  the  word  was  =  maidenhood,  to  which  it  is  etymo- 
logically  equivalent.  Cf.  Godhead,  etc. 

230.  Comfortable.  Comforting.  For  the  active  sense,  cf.  Rich. 
II.  ii.  2.  76  :  "  Uncle,  for  God's  sake,  speak  comfortable  words." 
See  also  on  ii.  I.  27. 

242.  We  will  draw  the  curtain.     See  on  i.  3.  133  above.     Cf. 
T.  and  C.  lii.  2.  49 :  "  Come,  draw  this  curtain,  and  let 's  see  your 
picture."     Halliwell-Phillipps  quotes  Skialetheia,  1598  :  — 

\ 

"  Oh,  sir,  she  's  painted,  and  you  know  the  guise, 
Pictures  are  curtaind  from  the  vulgar  eyes." 

243.  Sttch  a  one  I  was  this  present.     The  reading  of  the  folio, 
and  perhaps  corrupt.     Various  emendations  have  been  proposed : 
as  "  I  wear  this  present,"  "  such  a  one  as  I  was,"  "such  a  one  I  was 
as  this  presents"  "  such  a  one  I  am  at  this  present,"  etc.     Furness 
aptly  suggests  that  Olivia's  words  are  "  an  attempt  to  be  jocular  to 
hide  the  embarrassment  caused  by  removing  her  veil  to  allow  an 
exceedingly  handsome  young  man  to  gaze  on  her  face,  and  she  says 
in  effect,  *  Such  a  one  I  was  an  instant  ago,'  before  she  removed  her 
veil,  and  of  course,  such  she  still  remains." 

246.  In  grain.  Cf.  C.  of  E.  iii.  2.  108:  "No,  sir,  't  is  in  grain; 
Noah's  flood  could  not  do  it "  (that  is,  wash  it  out) ;  M.  N.  D.  i. 
2.  97  :  "  purple-in-grain,"  etc. 

248.  Blent.     Used  again  in   M.  of   V.  iii.   2.   183 ;    elsewhere 
(twice)  S.  has  "  blended."     Cf.  Spenser,  F.  Q.  i.  6.  42 :  — 

"  Yet  ill  thou  blamest  me,  for  having  blent 
My  name  with  guile  and  traiterous  intent." 

249.  Cunning.     Skilful ;   as  in  iii.  4.  298  below :  "  cunning  in 
fence,"  etc. 

250.  She.     Cf.  A.  Y.  L.  iii.  2.  n,  Hen.  V.  ii.  i,  83,  Cymb.  i.  6, 
40,  etc. 


1 64  Notes  [Act  I 

252.   Leave  the  world  no  copy.     Cf.  Sonn.  II.  13:  — 

"  She  carv'd  thee  for  her  seal,  and  meant  thereby 
Thou  shouldst  print  more,  nor  let  that  copy  die." 

See  also  Sonn.  3.  14  and  9.  3  fol. 

255.  Labelled.     A  legal  term,  a  label  being  =  a  codicil  to  a  will. 
Cf.  R.  and  J.  iv.  I.  57. 

256.  Indifferent.     For  the  adverbial  use,  cf.  i.  3.  139  above. 
256.    Grey  eyes.     Commonly  explained  as  =  blue  eyes  ;    but  I 

have  no  doubt  that  it  means  what  it  says. 

259.  Praise.     Appraise  ;   but  not  an  abbreviation  of  that  word, 
as  often  printed.     Cf.  T.  and  C.  iii.  2.  97 :  "  praise  us  as  we  are 
tasted  ;  allow  us  as  we  prove."    Halliwell-Phillipps  cites  Palsgrave, 
Lesclarcissement,  etc.,  1530:  "I  prayse  a  th-ynge,  I  esteme  of  what 
value  it  is,  Je  aprise"  ;  Baret,  Alvearie,  1580 :   "A  praiser  or  val- 
uer," etc.     Olivia  plays  upon  the  word  here. 

260.  You.     For  the  "redundant  object,"  cf.  i.  2.  53  above. 

264.  Nonpareil.     Cf.  Temp.  iii.  2.  108 :  — 

"  And  that  most  deeply  to  consider  is 
The  beauty  of  his  daughter ;  he  himself 
Calls  her  a  nonpareil." 

265.  With  fertile  tears.     That   is,  abundant  or  copious  tears. 
The  with  is  not  in  the  folio;   supplied  by  Pope.     Adorations  is 
metrically  equivalent  to  five  syllables.     See  on  i.  I.  39  above. 

270.  In  voices  ivell  divulged.     Well  spoken  of,  well  reputed. 

271.  Dimension.     Body.     Cf.  v.  i.   239  below,  the  only  other 
example  of  the  singular  in  S. 

272.  Gracious.     Full  of  graces,  attractive  ;   as  often. 
275.   Deadly.     Deathlike,  pining. 

280.  Cantons.  Cantos.  Malone  cites  The  London  Prodigal, 
1605:  "in  his  third  canton";  and  Hey  wood,  Preface  to  Britaynes 
Troy,  1609:  "in  the  judicial  perusal  of  these  few  cantons." 

282.   Reverberate.     Reverberant,  echoing;    as  not  unfrequently. 


Scene  V]  Notes  165 

Other  words  in  -ate  (from  Latin  passive  participles)  are  used  both 
passively  and  actively. 

288.  State.  Estate ;  as  in  M.  of  F.  iii.  2.  262  :  "  my  state  was 
nothing,"  etc. 

294.   Post.     Messenger;   as  in  M.  of  V.  ii.  9.  100,  v.  i.  48,  etc. 

298.    Cruelty.     Cf.  ii.  4.  82  below. 

303.  Blazon.     Literally,  an   heraldic  description   of  a   coat   of 
arms;   hence,   any   description   or   record.      Cf.  M.  W.  v.  5.  68: 
"  With  loyal  blazon,"  etc. 

304.  Unless  the  master  were  the  man.     Various  attempts  have 
been  made  to  explain  this.     Malone  says :  "  Unless  the  dignity  of 
the  master  were  added  to  the  merit  of  the  servant,  I  shall  go  too 
far  and  disgrace  myself."     Steevens  thinks  she  may  mean  to  check 
herself  by  observing,  "  This  is  unbecoming  forwardness  on  my  part, 
unless  I  were  as  much  in  love  with  the  master  as  I  am  with  the 
man."     Clarke  makes  it  =  "  unless  the  master's  love  for  me  were 
felt  by  the  man."     Olivia  evidently  wishes  that  the  master  and  the 
man  could  change  places,  but  just  what  she  would  have  said  if  she 
had  not  checked  herself  we  need  not  trouble  ourselves  to  guess. 

306.    Perfections.     See  on  i.  I.  39  above. 

308.  To  creep.  S.  often  uses  the  to  of  the  infinitive  where  it  is 
now  omitted,  and  vice  versa. 

310.  Peevish.     Silly;   its  most  common  meaning  in  S. 

311.  County*  s.     Count's;   as  repeatedly  in  R.  and  J.  and  else- 
where. 

313.  Flatter  with.  Deal  flatteringly  with,  encourage  with  hopes. 
Cf.  T.  G.  ofV.  iv.  4.  193  :  "  Unless  I  flatter  with  myself  too  much  "; 
Rich.  II.  ii.  i.  88:  "  Shall  dying  men  flatter  with  those  that  live?  " 

315.    If  that.     See  on  i.  2.  48  above. 

318.  Fear  to  find,  etc.  "I  fear  that  my  eyes  will  seduce  my 
understanding;  that  I  am  indulging  a  passion  for  the  beautiful 
youth  which  my  reason  cannot  approve "  (Malone) ;  "  I  fear  lest 
my  admiration  of  this  youth  prove  stronger  than  my  judgment  " 
(Clarke). 


1 66  Notes  [Act  ii 

320.    Owe.     Own  ;    that  is,  we  are  not  our  own  masters.     Cf. 
Temp.  i.  2.  454 :  "  the  name  thou  owest  not,"  etc. 


ACT   II 

SCENE  I. —  I.  Nor  will  you  not.  These  double  negatives  are 
common  in  S.  For  a  triple  negative,  see  iii.  I.  162  below:  "nor 
never  none,"  etc. 

4.  Malignancy.  S.  uses  the  word  nowhere  else,  malignity  not 
at  all.  For  distemper,  see  on  i.  5.  94  above. 

11.  Determinate.     Fixed.     Cf.  Sonn.  87.  4,  etc. 

12.  Extravagancy.     Vagrancy;   used  by'S.  only  here.     Cf.  the 
use  of  extravagant  in  Ham.  i.  I.  154  and  Oth.  i.  i.  137. 

15.  In  manners.  Cf.  Sonn.  85.  I:  "  My  tongue-tied  Muse  in 
manners  holds  her  still."  We  find  "with  manners"  in  Sonn.  39.  I 
and  Cymb.  i.  4.  56.  To  express  myself '—  to  reveal  myself. 

17.  Which  I  called  Roderigo.     No  reason  for  his  assuming  a  false 
name  is  hinted  at,  and  I  can  imagine  none. 

1 8.  Messaline.     Cf.  v.  I.  234  below.     As  no  such  place  is  known, 
Hanmer  substituted  "  Metelin,"  the  modern  name  of  Mitylene.    Fur- 
ness  jocosely  suggests  that  Messaline  was  "  the  chief  city  of  Pros- 
pero's  island." 

20.  An.  One.  Cf.  Ham.  v.  2.  277:  "These  foils  have  all  a 
length,"  etc. 

23.    Breach.     Breaking,  surf. 

26.  Was  yet.     For  the  ellipsis  of  the  relative,  cf.  i.  5.  103  above. 

27.  Though  I  could  not,  etc.     "  Though  I  could  not  believe  that, 
like  those  who   estimated   her  at   too  high  a  rate"    (Schmidt). 
Estimable  wonder  =  "  esteeming  wonder,  or  wonder  and  esteem  " 
(Johnson).     For  the  active  sense  of  estimable,  cf.  comfortable  in  i. 
5.  230  above,  and  Receivable  in  iv.  3.  21  below. 

30.   Drowned  already,  etc.     Cf.  Ham.  iv.  7.  1 86:  — 


Scene  II]  Notes  167 

"  Too  much  of  water  hast  thou,  poor  Ophelia, 
And  therefore  I  forbid  my  tears." 

33.  Your  bad  entertainment.  The  humble  way  in  which  I  have 
entertained  you  as  my  guest ;  as  your  trouble  =  the  trouble  I  have 
been  to  you. 

36.  Murther  me.  Knight  suggests  that  there  may  be  an  allusion 
to  the  superstition,  made  use  of  by  Scott  in  The  Pirate,  that  the 
man  who  was  saved  by  another  from  shipwreck  would  kill  his 
benefactor.  But,  as  Wright  suggests,  "Antonio  seems  only  to 
appeal  to  Sebastian  not  to  kill  him  as  a  reward  for  his  love  by 
abandoning  him." 

41.  The  manners  of  my  mother,  etc.  Cf.  Hen.  V.  iv.  6.  31 : 
"  And  all  my  mother  came  into  my  eyes." 

45.    Gentleness.     Favour,  good -will. 

SCENE  II.  — 6.  To  have  taken.  By  taking  ;  an  "  indefinite  use  " 
of  the  infinitive,  common  in  S. 

10.  So  hardy  to  come.  For  the  omission  of  as,  cf.  ii.  4. 98  below  : 
"  So  big  to  hold,"  etc. 

1 2.  She  took  the  ring.  "  Viola,  perceiving  that  Olivia  has  framed 
an  excuse  to  blind  her  steward  whom  she  sends,  and  willing  to  aid 
her  in  screening  herself,  accepts  the  version  given  of  the  ring's 
having  been  sent  from  Orsino  to  the  Countess  ;  which,  moreover, 
affords  a  ready  and  plausible  motive  for  refusing  to  take  it  now 
herself"  (Clarke), 

1 8.  Fortune  forbid  my  outside  have  not,  etc.  That  is,  forbid  that 
it  have.  Cf.  P.  P.  124 :  "  Forbade  the  boy  he  should  not  pass  those 
grounds."  Elsewhere  the  negative  is  omitted  ;  as  in  Sonn.  58.  I  : 

"  That  god  forbid  that  made  me  first  your  slave 
I  should  in  thought  control  your  times  of  pleasure,"  etc. 

20.  That  sure  methought.  The  reading  of  the  later  folios  ;  the 
1st  omits  sure.  Her  eyes  had  lost  her  tongue  ;  that  is,  she  was  so 
absorbed  in  looking  at  me  that  she  talked  distractedly.  For  lose 


1 68  Notes  [Act  ii 

in  this  causative  sense  (=  caused  the  loss  of),  cf.  Lear,  i.  2.  125: 
"  It  shall  lose  thee  nothing." 

26.    She  were  better  love.     See  on  i.  5.  31  above,  and  cf.  iii.  4.  12 
below :  "  your  ladyship  were  best,"  etc. 

28.  Pregnant.     Ready,  expert  (Johnson  and  Schmidt).     Cf.  iii. 
i.  92  below. 

29.  Proper-false.     Good-looking  and  deceitful.     For  proper,  cf. 
M.  of  V.  i.  2.  77 :  "a  proper  man's  picture "  ;   Hebrews,  xi.  23 :  "a 
proper  child,"  etc. 

30.  In  wouierfs  waxen  hearts,  etc.     To  make  an  impression  on 
the  soft  hearts  of  women,  or  to  fix  their  image  there.      Johnson 
took  it  to  mean,  "  How  easy  is  disguise  to  women  !  how  easily  does 
their  own  falsehood,  contained  in  their  waxen  changeable  hearts, 
enable  them  to  assume  deceitful  appearances !  "     Steevens  com- 
pares R.  of  L.  1240:  — 

"  For  men  have  marble,  women  waxen  minds, 
And  therefore  are  they  form'd  as  marble  will ; 
The  weak  oppress'd,  the  impression  of  strange  kinds 
Is  form'd  in  them  by  force,  by  fraud,  or  skill. 
Then  call  them  not  the  authors  of  their  ill, 
No  more  than  wax  shall  be  accounted  evil 
Wherein  is  stamp'd  the  semblance  of  a  devil." 

See  also  M.for  M.  ii.  4.  128 :  — 

"  Nay,  call  us  ten  times  frail ; 
For  we  are  soft  as  our  complexions  are, 
And  credulous  to  false  prints." 

32.  Made  of,  such.      The    folios  hare   "made,  if  such."     The 
correction  was  proposed  by  Tyrwhitt.     Johnson  wished  to  read, 

"  For  such  as  we  are  made,  if  such  we  be, 
Alas,  our  frailty  is  the  cause,  not  we !  " 

33.  Fadge.     Succeed,  prosper.     Cf.  L.  L.  L.  v.  i.  154:  "We  will 
have,  if  this  fadge  not,  an  antique."    Boswell  quotes  Florio,  Worlde 


Scene  III]  Notes  169 

of  Wordes  :  "  Andar*  a  vanga,  to  fadge,  to  prosper  with,  to  go  as 
one  would  have  it  "  ;   and  Niccols,  Beggars  Ape  :  — 

"  For  who  so  beares  simplicities  true  badge 
To  live  in  Princes  courts  doe  seldome  fadge." 

34.  Monster.  Referring  to  her  disguise,  which  makes  her  appear 
a  man  though  really  a  woman.  Fond  =  dote  ;  the  only  example  of 
the  verb  in  S.  Schmidt  thinks  it  may  be  the  adjective. 

SCENE  III.  —  2.  Diluculo  surgere.  The  rest  of  the  adage  (which 
S.  found  in  Lilly's  Grammar}  is  "  saliiberrimum  est "  (to  rise  early 
is  most  healthful). 

10.  The  four  elements.  Cf.  Sonn.  45,  Hen.  V.  Hi.  7.  22, /.  C.  v. 
5.  73,  etc. 

14.  Stoup.  A  drinking  cup.  Cf.  Ham.  v.  I.  68:  "Fetch  me  a 
stoup  of  liquor,"  etc. 

•  17.  The  picture  of  we  three.  Alluding  to  a  common  old  sign 
representing  two  fools,  with  the  inscription  "  We  three,"  the  spec- 
tator being  of  course  the  third.  The  device  is  said  to  be  still  seen 
in  some  parts  of  England. 

1 8.  Catch.  A  song  in  which  the  parts  follow  one  another.  Cf. 
Temp.  iii.  2.  126,  135. 

20.  Breast.  Voice.  Warton  cites  the  statutes  of  Stoke  Col- 
lege: "which  said  queristers,  after  their  breasts  are  broken"  (that 
is,  after  their  voices  have  changed),  etc.;  and  Fiddes  Life  of 
Wolsey.  "singing- men  well-breasted."  Halliwell-Phillipps  quotes 
The  Proverbis  in  the  Caret  at  Lekingfelde  :  — 

"  A  naturall  breste  is  goode  with  sowndes  of  moderacion, 
A  glorifiede  breste  is  to  curyus  with  notis  of  altefacion, 
But  he  that  syngithe  a  trewe  songe  mesurithe  in  the  meane  [tenor] , 
And  he  that  rechithe  to  hye  a  trebill  his  tewyns  is  not  clene ;  " 

Udall,  Roister  Doister  :  "  So  loe !  that  is  a  breast  to  blowe  out  a 
candle,"  etc. 


Notes  [Act  ii 

I  had  rather,  etc.  Cf.  M.  W.  i.  I.  205:  "I  had  rather  than 
forty  shillings  I  had  my  Book  of  Songs  and  Sonnets  here."  Had 
rather,  though  condemned  by  grammar-mongers,  is  still  good 
English. 

23.  Pigrogromitus.  A  philosopher  of  the  same  school  as  Qui- 
napalus. 

25.  Leman.  Mistress,  sweetheart;  as  in  2  Hen.  IV.  v.  3.  49: 
"And  drink  unto  the  leman  mine."  In  M.  W.  iv.  2.  172,  it  is 
masculine  =  paramour.  In  the  present  passage  the  folios  have 
"  Lemon,"  and  some  have  thought  that  the  fruit  was  meant.  The 
two  words  were  often  played  upon ;  as  in  Buttes,  Dyets  Dry 
Dinner ,  1599:  "All  say  a  limon  in  wine  is  good;  some  thinke 
a  leman  and  wine  better." 

27.  Impeticos  thy  gratillity.     Johnson  wished  to  read  "  impeti- 
coat  thy  gratuity,"  that  is,  put  it  in  the  pocket  of  his  long  coat; 
but,  even  if  that  is  the  meaning,  we  need  not  correct  the  clown's 
wording  of  it.     Johnson  adds,  "  There  is  yet  much  in  this  dialogue 
which    I    do   not   understand."     I  fear  that  no  commentator  will 
make  it  clear  why  the  Myrmidons  are  no  bottle-ale  houses,  or  fix 
the  exact  time  of  the  transit  of  the  equinoctial  of  Queubus  by  the 
Vapians. 

28.  Whipstock.    English   editors  think  it   necessary  to   explain 
that  this  means  the  handle  of  a  whip.     The  word  is  still  in  com- 
mon use  in  this  country. 

34.  TestriL  Sixpence;  also  called  a  tester,  as  in  2  Hen.  IV. 
iii.  2.  296. 

If  one  knight  give  a  — .  There  is  no  point  after  the  a  in  the  1st 
folio ;  the  later  ones  add  the  dash.  Feste  interrupts  Sir  Andrew. 

39.  Good  life^  Virtuous  conduct  or  good  behaviour  (Malone 
and  Schmidt) ;  evidently  intended  to  prepare  the  way  for  Andrew's 
answer.  Steevens  thought  it  meant  "harmless  mirth  and  jollity," 
which  Furness  prefers.  Malone  quotes  M.  W.  iii.  3.  137:  "De- 
fend your  reputation,  or  farewell  to  your  good  life  for  ever." 

41.    O  mistress  mine^  etc.     The  song  is  probably  not  by  S.     It  is 


Scene  III]  Notes  17 1 

found  in  Morley's  Consort  Lessons,  1599,  which  seems  too  early  foi 
the  date  of  the  play.  Furness  gives  the  music  of  it. 

44.  Sweeting.  Cf.  T.  of  S.  iv.  3.  36 :  "  What,  sweeting,  all 
amort  ?  "  Oth.  ii.  3.  252  :  "All  's  well  now,  sweeting,"  etc. 

Lovers.     Some  eds.  make  the  word  a  plural  possessive. 

53.  In  delay,  etc.     Cf.  Rich.  III.  iv.  3.  53 :  "  Delay  leads  impo- 
tent and  snail-pac'd  beggary." 

54.  Sweet  and  twenty.     Found  elsewhere  as  a  term  of  endear- 
ment.    Steevens  quotes    Wit  of  a    Woman,   1604:    "Sweet  and 
twenty :  all  sweet  and  sweet."     Schmidt  compares  M.  W.  ii.  I.  202  : 
"  Good  even  and  twenty."     Wright  thinks  it  is  "  certainly  wrong  " 
to  regard  the  phrase  as  vocative,  and  explains  it  as  =  "  sweet  kisses, 
and  twenty  of  them."    Furness  believes  it  to  be  vocative,  and  finds  in 
it  "  the  indescribable  charm  which  differentiates  poetry  from  prose." 

58.  Breath.  Cf.  "  so  sweet  a  breath  to  sing  "  in  20  above  ;  also 
M.  N.  D.  ii.  I.  151:  "Uttering  such  dulcet  and  harmonious 
breath,"  etc. 

61.  Make  the  welkin  dance.     "That  is,  drink  till  the  sky  seems 
to  turn  round"   (Johnson).     Cf.  A.  arid  C.  ii.  7.  124:    "Cup  us 
till  the  world  go  round." 

62.  Draw  three  souls,  etc.     Cf.  Much  Ado,  ii.  3.  6 1 :  "Is  it  not 
strange  that  sheeps'  guts  should  hale  souls  out  of  men's  bodies  ?  " 
Warburton  sees  here   an  allusion  to  the  three  souls  of  the  Peri- 
patetic philosophy  ;   whereupon  Coleridge  remarks :   "  O  genuine 
and  inimitable   (at  least   I   hope  so)  Warburton!     This  note   of 
thine,  if  but  one  in  five  millions,  would  be  half  a  one  too  much." 
Weavers  were  supposed  to  be  good  singers  and  particularly  given 
to  singing  psalms,  being  most  of  them  Calvinists  and  refugees  from 
the  Netherlands  (Schmidt).     Cf.  I  Hen.  IV.  ii.  4.  147  :  "  I  would  I 
were  a  weaver  ;   I  could  sing  psalms  or  anything." 

65.  I  am  dog.  The  3d  and  4th  folios  have  "a  dog";  but  the 
phrase  was  a  common  one.  Halliwell-Phillipps  cites  Englishmen 
for  my  Money:  "  I  am  dogg  at  this";  The  Devil  of  a  Wife: 
"  Ay,  ay,  come  I  'm  old  dogg  at  that,"  etc. 


Notes  [Act  ii 

70.  Hold  thy  peace,  etc.  This  old  three-part  catch  is  so  arranged 
that  each  singer  calls  another  knave  in  turn.  It  is  to  be  found  in 
a  book  entitled  "  Pammelia,  Musickes  Miscellanie,  or  mixed  Varietie 
of  pleasant  Roundelays  and  delightful  Catches  of  3,  4,  5,  6,  y? 
8,  9,  10  Parts  in  one,"  of  which  a  second  ed.  was  printed  in 
1618. 

80.  Catalan.     A  Chinese  ;     Cataia  or  Cathay  being  the  name 
given  to  China  by  the  early  travellers.    Tennyson  uses  it  in  Locksley 
Hall :  "  a  cycle  of  Cathay."     Nares  says  the  word  "  was  used  also 
to  signify  a  sharper,  from  the  dexterous  thieving  of  those  people  ; 
which  quality  is  ascribed  to  them  in  many  old  books  of  travels." 
Cf.  M.  W.\\.  I.  148:  "I  will  not  believe  such  a  Catalan,  though 
the  priest  of  the  town  commended  him  for  a  true  man."     Sir  Toby 
uses  it  in  a  loose  way  as  a  mere  term  of  reproach,  as  a  drunken 
fellow  might  use  "  heathen    Chinee  "   nowadays.      Steevens  cites 
Davenant,  Love  and  Honour :  "  Hang  him,  bold  Cataian,"  etc. 

81.  Peg-a-Ramsey.    There  were  two  tunes  with  this  name  in  the 
time  of  S.     The  music  of   one  of   them,   with  that  of  Hold  thy 
peace,  etc.,  may  be  found  in  the  Varioriim  of  1821.     Three  merry 
men  be  we  is  likewise  a  fragment  of  an  old  song,  often  quoted  in 
the  plays  of  the  time. 

82.  Consanguineous.     Used  by  S.  only  here ;   as  consanguinity 
is  only  in  T.  and  C.  iv.  2.  103. 

83.  Tillyvally  was  an  expression  of  contempt  and  impatience. 
Johnson  says  that  Sir  Thomas  More's  lady  was  much  in  the  habit 
of  using  it,  and  Nares  gives  illustrative   quotations  from   Roper's 
Life  of  More.     Dame  Quickly  corrupts  the  word  into  tillyfally  in 
2  Hen.  IV.  ii.  4.  90.      Inhere  dwelt  a  man,  etc.,  is  from  the  old  ballad 
of  Susanna,  quoted  also  by  Mercutio  in  R.  and  J.  ii.  4.  151. 

85.  Beshrew  me.  A  mild  imprecation,  though  originally  =  may 
evil  befall  me ! 

89.  Natural.  Possibly  intended  to  suggest  the  other  sense  of 
the  word  (see  on  i.  3.  30),  though  of  course  Andrew  does  not 
mean  it  so. 


Scene  III]  Notes  173 

90.  0,  the  twelfth  day,  etc.  From  some  old  ballad  that  has  not 
come  down  to  us. 

94.  Honesty.     Decency,  propriety.     Cf.    Oth.  iv.   1 .  288 :  "  It  is 
not   honesty  in  me  to  speak";   Hen.  VIII.  v.    2.    28:  "honesty 
...  At  least  good  manners,"  etc. 

95.  Tinkers.     "Proverbial   tipplers  and   would-be  politicians" 
(Schmidt).     Cf.    I   Hen.  IV.  ii.  4.    20:  "I   can  drink  with  any 
tinker,"  etc. 

97.  Coziers1.  Cobblers'.  Halliwell-Phillipps  quotes  Percivale's 
Dictionarie^  1599:  "A  cosier  or  cobler,  remendon"  ;  and  Min- 
sheu's  Guide:  "A  cosier  or  sowter,  ab  Hisp.  Coser,  to  sow" 
(sew). 

101.  Sneck  up  !     "This  was  a  scoffing  interjection,  tantamount 
to  '  Go  hang! '  and  here  has  the  added  humorous  effect  of  a  hic- 
cup" (Clarke).     Steevens  quotes  Beaumont  and  Pletcher,  Knight 
of  the  Burning  Pestle  :  "  Give  him  his  money,  George,  and  let  him 
go  sneck  up,"  etc.     Taylor  the  Water-Poet  has  "  Snickup,  which  is 
in  English  gallow-grasse,"  or  what  in  the  same  passage  he  calls 
"  a  Tiburne    hempen-caudell"   [rope   for  the   gallows].      Tyburn 
(Z.  L.  L.  iv.  3.  54)  was  the  usual  place  for  London  executions. 

102.  Round.     Plain,  blunt;   as  in  Hen.   V.  iv.  I.  216,  etc.     So 
the  adverb  —  directly  ;   as  in  Ham.  iii.  2.  191,  etc. 

104.  Disorders.  Explained  by  the  following  misdemeanours. 
Cf.  Lear,  ii.  4.  202 :  — 

"  I  set  him  there,  sir;  but  his  own  disorders 
Deserv'd  much  less  advancement,"  etc. 

109.  Farewell,  dear  heart,  etc.  From  "  Condon's  Farewell  to 
Phillis,"  which  may  be  found  in  Percy's  Reliques.  Some  of  the 
snatches  that  follow  are  from  the  same  song. 

122.  Out  0'  time,  sir  ?  The  folio  has  "  Out  o'  tune  sir,  ye  lye  "  : 
etc.  The  emendation  is  due  to  Theobald  and  is  adopted  by  most 
of  the  editors.  Collier  retains  the  old  reading,  pointing  it  "  Out 
of  tune!  —  sir,"  etc.,  and  making  it  refer  to  the  Clown;  but,  as 


174  Notes  [Act  ii 

Dyce  remarks,  the  Clown  was  a  professional  singer  and  would  not 
be  likely  to  be  out  of  tune.  It  is  a  drunken  iteration  of  what  Sir 
Toby  has  said  in  89  above.  Furness  defends  the  folio. 

123.  Dost  thou  think,  etc.  Clarke  takes  this  to  be  "a  fling  at 
Malvolio's  Puritanism,"  and  the  Clown's  swearing  by  Saint  Anne 
as  another,  such  oaths  being  regarded  with  abhorrence  by  the 
Puritans ;  but  Malvolio  is  not  a  Puritan.  See  comments  on  the 
character  in  the  Appendix. 

126.  Ginger.  A  favourite  spice  in  the  time  of  S.,  especially 
with  old  people.  Cf.  M.  of  V.  iii.  I.  10,  M.  for  M.  iv.  3,  8,  etc. 

129.  With  crumbs.  That  is,  to  clean  it.  Cf.  Webster,  Duchess 
of  Malfy  :  "  Tea,  and  the  chippings  of  the  buttery  fly  after  him,  to 
scouer  his  gold  chain."  Stewards  wore  such  chains  as  badges  of 
office. 

132.  Rule.  Conduct,  behaviour.  Cf.  night-rule  in  M.  N.  D. 
iii.  2.  5.  Steevens  quotes  Heywood,  English  Traveller :  "  What 
guests  we  harbour  and  what  rule  we  keep";  and  Jonson,  Tale  of  a 
Tub :  "  And  set  him  in  the  stocks  for  his  ill  rule." 

134.  Go  shake  your  ears.  A  common  expression  of  contempt. 
Halliwell-Phillipps  quotes,  among  other  instances,  .Howell,  Fa- 
miliar Letters  :  "  This  being  one  day  done,  they  shut  their  gates 
against  him,  and  made  him  go  shake  his  ears,  and  to  shift  for  his 
lodging,"  etc.  Cf.  J.  C.  iv.  I.  26,  which  suggests  that  the  ex- 
pression is  equivalent  to  calling  a  man  an  ass. 

136.  The  field.  Some  adopt  Rowe's  "  to  the  field."  Perhaps, 
as  Schmidt  suggests,  S.  wrote  "to  field."  Cf.  R.  and  J.  iii.  I.  61  : 
"  Marry,  go  before  to  field."  It  seems  hardly  worth  our  while  to 
correct  Andrew's  grammar,  particularly  when  he  is  drunk. 

146.  A  nayword.  The  folio  has  "  an  ayword,"  which  has  been 
explained  as  "  a  word  always  used,  a  proverbial  reproach";  but  as 
S.  uses  nayword in  M.  W.  ii.  2.  131  and  v.  2.  5,  that  was  probabl) 
his  word  here.  There  it  is  =  watchword  ;  here  it  is  =  byword. 
Dyce  quotes  Forby,  Vocab.  of  E,  Angliq  ;  "Nayword  .  .  «  A  bye- 
word  ;  a  laughing-stock." 


Scene  III]  Notes  175 

149.  Possess.  Inform,  tell.  Cf.  M.  of  V.  iv.  I.  35:  "I  have 
possess'd  your  grace  of  what  I  purpose  "  (cf.  Id.  i.  3.  65),  etc. 

152.  Puritan.  For  other  allusions  to  the  Puritans,  see  A.  W. 
i.  3.  56,  98,  W.  7'.  iv.  3.  46,  and  Per.  iv.  6.  9. 

1 60.  Time-pleaser.     Time-server.     Cf.   Cor.  Hi.   I.  45  :  "  Time- 
pleasers,  flatterers,    foes   to   nobleness."      Affectioned  —  affected  ; 
used  by  S.  only  here.     In  L.  L.  L.  v.  i.  4,  the  1st  folio  has  "affec- 
tion "  =  affectation  (the  reading  of  the  other  folios) ;  and  in  Ham. 
ii.  2.  464,  the  quarto  has  "  affection,"  the  folios  "  affectation." 

161.  Cons  state  —  studies  dignity  of  deportment. 

162.  Swarths.     Swaths.    The  word  is  used  by  S.  only  here  ;  and 
swath  only  in  T.  and  C.  v.  5.  25.      Swarth  indicates  the  pronuncia- 
tion.     The  best  persuaded,  etc.  =  having  the  best  opinion  of  him- 
self. 

170.  Expressure.  Expression  ;  as  in  M.  W.  v.  5.  71  and  T. 
and  C.  iii.  3.  204.  Cf.  impressure  in  ii.  5.  99  below. 

172.    Feelingly.     Exactly;   as  in  Ham.  v.  2.  113,  etc. 

1 80.  A  horse  of  that  colour.  Cf.  A.  Y.  L.  iii.  2.  393  :  "  boys  and 
women  are  for  the  most  part  cattle  of  this  colour." 

184.  Ass.  With  possibly  a  play  on  as  ;  as  in  M.  N.  D.  v.  1.317 
on  ass  and  ace. 

191.  Penthesilea.     The  queen  of  the  Amazons  ;   an  ironical  allu- 
sion to  Maria's  diminutive  size,  like  beagle  below.     See  also   on 
i.  5.  211  above. 

192.  Before  me.     By  my  soul.     Cf.   Oth.  iv.  I.  149  :    "Before 
me !     Look  where  she  comes  !  " 

193.  Beagle.     A  small  kind  of  dog.     The  word  is  again   used 
figuratively  in  T.  of  A.  iv.  3.  174. 

198.  Recover.     Gain,  win.     Cf.  Temp.  iii.  2.   16  :  "ere  I  could 
recover  the  shore,"  etc. 

199.  Out.     Out  of  pocket  ;   still  colloquially  used  in  that  sense. 
201.    Call  me  cut.     Like  "call  me  horse"  in   i  Hen.  IV.  ii.  4. 

215.     As  Malone  remarks,  cut  was  probably  synonymous  with  cur- 
tal  (A.  W.  ii.  3.  65)  and  =  a  horse  whose  tail  has  been  docked. 


176  Notes  [Act  ii 

Cf.  The  Two  Noble  Kinsmen,  iii.  4  :  "  He  '11  buy  me  a  white  cut 
forth  for  to  ride"  ;  and  Sir  John  Oldcastle,  1600  :  "But  master, 
pray  ye,  let  me  ride  upon  Cut."  Some  make  it  =  gelding. 

204.  Burn  some  sack.  Cf.  "  burnt  sack  "  in  J\L  W.\\  I.  223  and 
iii.  I.  112.  Sack  was  "the  generic  name  of  Spanish  and  Canary 
wines." 

SCENE  IV.  —  3.  Antique.  Quaint.  The  accent  is  always  on  the 
first  syllable. 

5.  Recollected.  "  Studied  "  (Warburton).  It  has  been  variously 
defined  as  "repeated,"  "refined,"  "trivial,"  "light,"  etc. 

ii.  Feste.  Possibly,  as  Clarke  suggests,  from  the  Italian  festeggi- 
ante  which  Florio  defines  as  "  Feasting,  merrie,  banqueting,  pleas- 
ant, of  good  entertainment." 

18.  Motions.  Emotions;  "often  used  with  reference  to  love" 
(Furness).  Cf.  M.  N.  D.  i.  I.  204,  Oth.  i.  3.  113,  etc. 

21.  The  seat,  etc.     That   is,  the    heart.     Cf.   Oth.  iii.    3.  448  : 
"Yield  up,  O  Love,   thy  crown   and    hearted   throne."     Malone 
refers  to  i.  I.  37  above. 

22.  Thou  dost  speak  masterly,      "  One  of  the  few  instances  in 
which  S.  indirectly  (and  of  course  unconsciously)  comments  upon 
himself.     Certainly  there  never  was  more  masterly  speaking  on  the 
effect   produced   by   music    upon    a  nature  sensitively  alive  to  its 
finest  influences  than  Viola's  few  but  intensely  expressive  words  " 
(Clarke).  For  the  adverbial  use  of  masterly,  cf.  W.  T.  v.  3.  65  and 
Oth.  i.  I.  26. 

25.  By  your  favour.    There   is   an  obvious  play  upon  favour. 
For  its  use  —  face,  aspect,  cf.  iii.  4.  346,  400  below. 

26.  Complexion.     Personal  appearance;   as  in  V.  and  A.  215: 
"  Thou  art  no  man,  though  of  a  man's  complexion,"  etc.     See  also 
ii.  5.  27  below. 

29.  Let  still  the  woman,  etc.  Some  believe  that  the  poet  had 
in  mind  his  own  marriage  with  a  woman  much  older  than  himself, 
but  this  is  exceedingly  improbable.  Furness  takes  the  same  view, 


Scene  IV]  Notes  177 

and,  moreover,  does  not  believe  that  Orsino's   assertion   itself  is 
true. 

33.  Unfirm.     Cf.  /.   C.  i.  3.  4  and  A\  and  J.  v.  3.  6.     S.  also 
uses  infirm  ;  as  in  Alacb.  ii.  2.  52,  Lear,  i.  I.  303,  etc. 

34.  Worn.     Changed  by  Hanmer  to  "  won."     The  emendation 
is  plausible,  but  as  worn  (=  forgotten,  effaced)  gives  a  good  sense, 
we  are  hardly  justified  in  displacing  it.     Cf.  2  Hen.    VI.  ii.  4.  69  : 
"  These  few  days'  wonder  will  be  quickly  worn." 

37.  The  bent.  That  is,  its  tension.  The  metaphor  is  taken 
from  the  bending  of  a  bow.  Cf.  Much  Ado,  ii.  3.  232  :  "  her  affec- 
tions have  their  full  bent,"  etc. 

41.  Perfection.  The  word  "not  only  applies  to  the  blown 
beauty  of  the  rose,  but  has  figurative  reference  to  the  full  loveli- 
ness of  a  woman  when  matched  with  her  chosen  manly  counter- 
part in  married  union;  thus  affording  corroboration  of  the  reading 
perfection  in  i.  I.  39  above"  (Clarke). 

44.  Spinsters.     In  its  original   sense    of  female    spinners.      Cf. 
Oth.  i.  i.  24  and  Hen.  VIII.  i.  2.  33,  the  only  other  instances  of  the 
word  in  S. 

45.  Free.     Free  from  care,  happy  ;  as  in  Oth.  iii.  3.  340  :  "free 
and  merry,"  etc. 

46.  Use.     Are  accustomed.     We  still  use  the  past  tense  in  this 
sense,  but  not  the  present.     Cf.    Temp.  ii.   i.   175,  A.  and  C.  ii.  5. 
32,   etc.      Silly   sooth  =  simple   truth    (Johnson).      For   sooth,  cf. 
W.    T.  iv.  4.  171  :  "he    looks  like  sooth"  ;    Macb.  i.  2.  36  :  "if 
I  say  sooth,  etc. 

48.  The  old  age.  The  olden  time,  the  primitive  age.  Cf.  Sonn. 
127.  i  :  "  In  the  old  age  black  was  not  counted  fair." 

52.  Cypress.  It  is  doubtful  whether  this  means  a  shroud  of  cy- 
press or  cyprus  (the  modern  crape},  as  Warton  and  Steevens  explain 
it,  or  a  coffin  of  cypress  wood,  as  Malone  makes  it.  It  has  been 
objected  to  the  former  that  the  shroud  here  is  white,  but  Cotgrave 
mentions  "  white  cipres."  In  proof  that  cypress  wood  was  used 
for  coffins,  Malone  quotes  Speed,  who,  in  referring  to  the  death  of 

TWELFTH  NIGHT —  12 


178  Notes  [Act  n 

Robert  de  Vere,  speaks  of  "  the  cypress  chest  wherein  his  body  lay 
embalmed."  Wright  thinks  it  is  "  either  a  coffin  of  cypress  wood 
or  a  bier  strewn  with  branches  or  garlands  of  cypress."  "  Cy- 
press chests  "  not  coffins  are  mentioned  in  T.  of  S.  ii.  1.353. 

57.  My  part  of  death,  etc.  "Though  death  is  a  part  in  which 
every  one  acts  his  share,  yet  of  all  these  actors  no  one  is  so  true  as 
I  "  (Johnson). 

68.  I  take  pleasure  in  singing.  From  what  Viola  says  in  i.  2.  58 
fol.  ("  I  can  sing,"  etc.)  we  might  infer  that  S.  at  first  intended 
that  she  should  do  some  singing  in  the  play  (at  this  point  perhaps), 
but  he  seems  to  have  changed  his  mind  afterwards  —  possibly  be- 
cause the  boy  in  the  theatrical  company  who  would  take  the  part 
of  Viola  was  not  a  good  singer. 

73.  Give  me  now  leave,  etc.  A  courteous  form  of  dismissal. 
Cf.  i  Hen.  IV.  i.  3.  20,  etc. 

75.  Taffeta.    A  silken  fabric  ;   mentioned  again  in  L.  L.  L.  v.  2. 
159.     See   also   on   i.   3.    140   above.     Halliwell-Phillipps   quotes 
Taylor   the  Water-Poet  :    "No    Taffaty    more    changeable    than 
they." 

76.  Opal  alludes  to  the  changeable  colour  of  the  stone.     Stee- 
vens  quotes  Drayton,  Muses'  Elysium  :  — 

"  With  opals  more  than  any  one 
We  '11  deck  thine  altar  fuller, 
For  that  of  every  precious  stone 
It  doth  retain  some  colour." 

S.  mentions  the  stone  only  here  and  in  Z.  C.  215. 

78.  Every  where.  Warburton  wanted  to  read  "  no  where  " ;  but, 
as  Mason  says,  "  we  cannot  accuse  a  man  of  inconstancy  who  has 
no  intents  at  all,  though  we  may  the  man  whose  intents  are  every- 
where, that  is,  are  constantly  varying." 

82.    Cruelty.     For  the  concrete  use,  cf.  i.  5.  298  above. 

86.  Giddily.     Carelessly,  negligently. 

87.  That  miracle,  etc.     That  fair  frame,  that  beauteous  person 


Scene  IV]  Notes  179 

(Clarke).  Pranks  =  decks,  adorns.  Cf.  IV.  T.  iv.  4.  10  :  "Most 
goddess-like  prank'd  up"  ;  and  Cor.  iii.  I.  23  :  "  For  they  do  prank 
them  in  authority." 

95.  There  is.  A  singular  verb  is  often  used  before  a  plural  sub- 
ject, particularly  with  there  is. 

98.  So  big  to  hold.  That  is,  as  to  hold.  See  on  ii.  2.  9 
above. 

They  lack  retention.  "This,  from  the  Duke  —  who  has  lately 
affirmed  that  women's  love  is  firmer  and  more  lasting  than  men's  — 
is  but  another  point  in  keeping  with  his  opal-hued  mind" 
(Clarke). 

100.  Liver.    For  the  liver  as  the  seat  of  love,  cf.  ii.  5.  102  below. 
It  was  also  reckoned  the  seat  of  courage.     Cf.  iii.  2.  22  and  66 
below. 

101.  Cloyment.     Used  by  S.  only  here.     We  find  cloy  less  in  A. 
and  C.  ii.  I.  25. 

102.  The  sea.     Cf.  i.  I.  ii  above;   also  Temp.  iii.  3.  55:  "the 
never-surfeited  sea." 

103.  Compare.     For  the  noun,  cf.  R.  and  J.  ii.  5.  43,  iii.  5.  238, 
M.  N.  D.  iii.  2.  290,  etc. 

109.  Lov'd.  For  the  omission  of  the  relative,  cf.  i.  5.  103 
above. 

113.  A  worm  i'  the  bud.     Cf.  R.  of  L.  848:  "Why  should  the 
worm  intrude  the  maiden  bud  ?"     See  also    Sonn.  35.  4,  70.  7, 
95.  2,  K.  John,   iii.  4.   82,   i  Hen.    VI.  ii.  4.  68,  71,  Ham.  i.  3. 
99,  etc. 

114.  Thought.     Love  ;   or  "brooding  over  her  love." 

116.  Like  Patience.  Patience  is  personified,  but  grief  is  not. 
Smiling  refers  to  she,  not  to  Patience.  The  passage  is  often  mis- 
pointed  and  misunderstood.  Cf.  Per.  v.  I.  138  :  — 


"  yet  thou  dost  look 

Like  Patience  gazing  on  kings'  graves  and  smiling 
Extremity  out  of  act." 


i8o  Notes  [Act  ii 

122.  I  am  all  the  daughters,  etc.  "S.,  in  such  speeches  as  these, 
has  shown  not  only  his  knowledge  of  the  depths  of  feminine  nature, 
but  the  utmost  grace,  refinement,  and  delicacy  in  fancy  of  which 
enigmatic  reply  is  susceptible"  (Clarke).  And  yet  I  know  not 
refers  to  the  possibility  that  her  brother  is  still  living. 

126.  Denay.  Denial.  Steevens  cites  examples  of  the  old  verb 
denay  from  Holinshed  and  Warner,  but  does  not  refer  to  its  occur- 
rence (in  the  folio)  in  2  Hen.  VI.  i.  3.  107  :  "Then  let  him  be  de- 
nay'd  the  regentship."  S.  uses  the  verb  only  there,  the  noun  only 
here. 

SCENE  V.  —  5.  Sheep-biter.  A  cant  term  for  a  thief  (Dyce). 
Schmidt  says  it  is  "  evidently  =  a  morose,  surly,  and  malicious  fel- 
low " ;  but  the  following  from  Taylor  the  Water-Poet  seems  to 
show  that  Dyce  is  right :  — 

"  And  in  some  places  I  have  heard  and  scene 
That  currish  sheep-biters  have  hanged  beene." 

The  word  seems  originally  to  have  been  applied  to  a  dog  that  bit 
or  worried  sheep ;  and  Taylor  may  refer  to  killing  (perhaps  liter- 
ally hanging)  such  a  dog.  Cf.  M.  of  V.  iv.  i.  134:  "a  wolf,  who 
hang'd  for  human  slaughter,"  etc.  In  the  olden  time  animals  were 
often  tried  and  executed.  Like  many  other  words  of  the  kind,  sheep- 
biter  doubtless  came  to  be  used  as  a  general  term  of  contempt. 
We  find  sheep-biting  in  M.  for  M.  v.  i.  359 :  "  your  sheep-biting 
face." 

15.  Metal.  The  1st  folio  has  "  Mettle,"  the  later  folios  "  Nettle," 
which  is  doubtless  a  misprint,  though  some  editors  have  adopted  it. 
Metal  and  mettle  are  used  indiscriminately  in  the  folio.  My  metal 
of  India  (  =  my  golden  girl,  my  jewel)  is  an  expression  quite  in  Sir 
Toby's  vein. 

23.  Caiight  with  tickling.  Steevens  cites  Cogan,  Haven  of 
Health,  1595:  "This  fish  of  nature  loveth  flatterie:  for,  being  in 


Scene  V]  Notes  1 8 1 

the  water,  it  will  suffer  itself  to  be  rubbed  and  clawed,  and  so  to  be 

taken." 

,    26.    Should  she  fancy.     If  she  (Olivia)  should  love.     This  is  the 

only  sense  of  the  verb  in  S.     For  the  absolute  use,  cf.  T.  and  C.  v. 

2.  165  : — 

"  never  did  young  man  fancy 
With  so  eternal  and  so  fix'd  a  soul." 

For  complexion,  see  on  ii.  4.  26  above. 

32.  Jets.  Struts.  Cf.  Cymb.  iii.  3.  5  :  "arch'd  so  high  that  giants 
may  jet  through."  Steevens  quotes  Arden  of  Fever  sham,  1592: 
"  And  bravely  jets  it  in  a  silken  gown  "  ;  and  Bussy  d'Ambois, 
1607:  "To  jet  in  others'  plumes  so  haughtily."  Advanced—  up- 
raised; as  in  Temp.  i.  2.  408:  "The  fringed  curtains  of  thine  eye 
advance,"  etc. 

34.  'Slight.  A  corruption  of  "  God's  light "  ;  used  again  in  iii. 
2.  14  below.  Cf.  'slid  (iii.  4.  375  below),  'sblood  {Oth.  i.  I.  4),  Jsdeath. 
(Cor.  i.  i.  221),  'swounds  (Ham.  ii.  2.  604),  etc. 

40.  The  lady  of  the  Strachy,  etc.     The  briefest  and  most  mysteri- 
ous of  love  romances  immortalized  in  prose  or  verse.     We  may 
imagine,  however,  that  the  pair  lived  happily  ever  after,  or  Malvolio 
would  not  have  quoted   their  story   as   a  precedent.     The   word 
Strachy  is  printed  in  the  folio  with  a  capital  and  in  italics,  as  if 
a  proper  noun.     It  has  been  the  subject  of  much  conjecture  and 
discussion.     Among    the   emendations  proposed  are  "  Stratarch," 
"Trachy  "  (=  Thrace),  "  Straccio,"  "  Strozzi,"  "  Stracci,"  "  Duchy," 
etc.     It  may  be  the  corruption  of  a  family  name   (Italian  most 
likely),  in  some  old  story  now  lost.     For  almost  five  pages  of  com- 
ment upon  it,  see  Furness,  who  himself  assumes  that  the  word  is 
probably  a  misprint. 

41.  The  yeoman  of  the  wardrobe  was  a  regular  title  of  office  in 
the  time  of  S.     Florio  translates  vestiario  by  "  a  wardrobe-keeper, 
or  a  yeoman  of  a  wardrobe." 

42.  Jezebel.     "  Sir  Andrew  merely  knows  this  name  as  a  term  of 


1 82  Notes  [Act  ii 

reproach  ;  and  his  applying  a  woman's  name  to  a  man  is  of  a  piece 
with  his  other  accomplishments  "  (Clarke). 

43.  Deeply  in.     "Deeply  lost  in  his  wild  fancies"  (Furness). 

44.  Blows  him.    Puffs  him  up.     Cf.  Lear,  iv.  4.  27  :  "  No  blown 
ambition  doth  our  arms  incite,"  etc. 

46.  State.     That  is,  chair  of  state  ;   as  in  I  Hen.  IV.  ii.  4.  416  : 
"  this  chair  shall  be  my  state,"  etc. 

47.  Stone-boiv.     A  cross-bow  for  throwing  stones.     Coles  gives 
balista  as  the  Latin  equivalent.     Marston,  in  his  Dutch  Courtesan, 
1605,  speaks  of  "  those  who  shoot  in  stone-bows,"  etc. 

50.  Branched.  Referring  to  the  flowered  pattern  of  the  fabric. 
Cotgrave  refers  to  figured  velvet  as  "  branched  velvet."  Day- 
bed '=  couch,  sofa.  The  word  is  used  again  in  Rich.  III.  iii.  7.  72 
("  love-bed"  in  the  folios). 

54.  The  humour  of  state.     "  The  high  airs,  the  capricious  inso- 
lence, of  authority." 

55.  A  demure  travel  of  regard.     Looking  gravely  about. 

62.  My  watch.  At  the  date  of  the  play  watches  were  just  begin- 
ning to  be  worn  in  England.  Malone  says  they  were  first  brought 
to  England  from  Germany  in  1580.  Steevens  quotes  The  Antipodes, 
a  comedy,  1638  :  — 

"  your  project  against 
The  multiplicity  of  pocket- watches ;  " 
and  again  :  — 

"when  every  puny  clerk  can  carry 
The  time  o*  th'  day  in  his  breeches." 

With  my  —  some,  etc.  The  dash  is  not  in  the  folio,  and  some 
modern  editors  omit  it,  making  my  some  rich  jewel  =  some  rich 
jewel  of  mine.  Probably,  as  Dr.  Nicholson  has  suggested,  Malvolio 
was  about  to  say  "with  my  chain,"  but  "suddenly  remembering 
that  he  would  be  no  longer  a  steward,  or  any  other  golden-chained 
attendant  [cf.  ii.  3.  129  above],  he  stops  short,  and  then  confusedly 
alters  his  phrase  to.  some  rich  jewel" 


Scene  V]  Notes  1 83 

66.  By  th?  ears.  The  ist  folio  has  "with  cars,"  the  later  folios, 
"  with  cares."  Johnson  conjectured  "  with  carts,"  Tyrwhitt  "  with 
cables,"  Walker  "with  racks,"  Bailey  "with  screws,"  etc.  The 
reading  in  the  text  is  Hanmer's,  and  seems  to  me  the  best  that  has 
been  proposed.  Clarke  defends  "  with  cars,"  comparing  T.  G.  of  V. 
iii.  i.  265  :  "a  team  of  horse  shall  not  pluck  that  from  me  " ;  and 
Sir  Toby's  own  expression  "  oxen  and  wainropes  cannot  hale  them 
together,"  in  iii.  2.  63  below.  Furness  also  is  willing  to  retain 
"cars."  But  "cars"  are  neither  horses  nor  oxen,  and  S.  uses  the 
word  only  in  the  sense  of  chariots  or  triumphal  cars. 

78.  Scab.  For  the  personal  use  of  the  word,  cf.  Much  Ado,  iii. 
3.  107,  T.  and  C.  ii.  I.  31,  etc.  Halliwell-Phillipps  quotes  Marlowe, 
Dr.  Faustus :  "  Doctor  !  you  cozening  scab !  "  and  The  DiviVs 
Charter,  1607  :  — 

"  And  by  these  honors,  if  I  prove  a  blabbe, 
Then  call  me  villaine,  varlet,  coward,  skabbe." 

87.  What  employment  have   we  here?     What   work   have  we 
here  ?     What 's  to  do  here  ? 

88.  Woodcock.     The  bird  was  supposed  to  have  no  brains,  and 
was  therefore  a  common  metaphor  for  a  fool.     Cf.  Much  Ado,  v.  I. 
158,  T.  of  S.  i.  2.  161,  etc. 

92.  Her  very  C's,  etc.     Steevens  having  observed  that  there  was 
neither  a  C  nor  a  P  in  the  direction  of  the  letter,  Ritson  suggested 
that  the  full  direction,  according  to  the  custom  of  the  time,  would 
be  "  To  the    Unknown  Beloved,  this,  and  my  good  wishes,  with 
Care  /'resent "  ;  but  S.  was  careless  about  consistency  in  these  little 
matters. 

93.  In  contempt  of  question.     "  Past  question"  (i.  3.  102  above). 

98.  By  your  leave,  wax.     Cf.  Lear,  iv.  6.  258  :  "  Leave,  gentle 
wax."     See  also  Cymb.  iii.  2.  35. 

99.  Soft!     This   is,   "  in    contempt   of  question,"    the   familiar 
exclamation  =  hold  !   (cf.  i.  5.   303   above),  but    Malone   saw   in 
it   an   allusion    to   the    custom    of  sealing   letters   with   soft   wax. 


184  Notes  [Act  ii 

According  to  Steevens,  it  was  only  certain  legal  instruments  for 
which  the  soft  wax  was  used.  Impressure  =  impression ;  as  in 
A.  Y.  L.  iii.  5.  23.  The  head  of  Lucretia  was  no  unusual  device 
on  seals. 

102.   Liver.     See  on'ii.  4,  100  above. 

108.  Numbers.  Measure,  versification ;  as  in  L.  L.  L.  iv.  3. 
57,  etc. 

in.  Brock.  Badger.  Florio  defines  tasso  as  "a  gray,  a  brocke, 
a  badger  "  ;  and  Baret  has  "  A  brocke,  ...  or  badger,  Melis"  It 
was  often  used  as  a  term  of  contempt.  Nares  quotes  The  Isle  of 
Gulls  :  "  I'  faith,  old  brock,  have  I  tane  you  ?  " 

116.  Af,  O,  A,  /,  etc.  Clarke  remarks  :  "  Such  riddle-like 
assemblage  of  initial  letters  was  not  unusual,  at  the  time  S.  wrote, 
in  amatory  epistles  or  gallant  mottoes  ;  and  he  has  twice  given 
nearly  verbatim  the  doth  sway  my  life,  as  though  it  were  one  of 
the  conventional  phrases  of  love-profession  then  in  vogue."  Cf. 
A.  Y.  L.  iii.  2.  4:  "Thy  huntress'  name  that  my  full  life  doth 
sway." 

121.  What  dish,  etc.  What  a  dish,  etc.  Cf.  /.  C.  i.  3.  42  : 
"  Cassius,  what  night  is  this  !  " 

123.  Staniel.  lianmer's  correction  of  the  "stallion"  of  the 
folios.  The  staniel  was  a  species  of  hawk.  Check  was  "  a  term  in  . 
falconry,  applied  to  a  hawk  when  she  forsakes  her  proper  game, 
and  follows  some  other  of  inferior  kind  that  crosses  her  in  her 
flight."  Cf.  iii.  i.  66  below. 

127.    Formal.     Normal,  ordinary.     Cf.  A.  and  C.  ii.  5.  41  :  — 

"  Thou  should'st  come  like  a  Fury  crown'd  with  snakes, 
Not  like  a  formal  man." 

134.  Sowter.  Here  the  name  of  a  hound.  The  word  meant  a 
cobbler,  as  in  the  quotation  illustrating  coziers\  ii.  3.  97  above. 

Though  if  be.  Hanmer  made  this  negative  ("be  n't"),  but 
Malone  explains  it  thus :  "  This  fellow  will,  notwithstanding,  catch 
at  and  be  duped  by  our  device,  though  the  cheat  is  so  gross  that; 


Scene  V]  Notes  185 

any  one  else  would  find  it  out."  Clarke  takes  though  it  be  as  = 
since  it  is  ;  and  Furness,  emphasizing  be  strongly,  makes  that  the 
meaning  (=  "because  it  really  is"). 

141.  Suffers  under  probation.  Is  the  worse  for  examination. 
Cf.  T.  of  A.  i.  I.  165  :  "  Hath  sufter'd  under  praise." 

143.  O  shall  end.     Johnson   thought    that    O   here    meant    "a 
hempen  collar  "  ;   but  more  likely,  as  Steevens  suggests,  the  idea  is, 
"  shall  end  in  sighing";  or  in  cries  of  pain,  I  should  suggest.     Cf. 
R.  and  J.  iii.  3.  90:  "Why  should  you  fall  into  so  deep  an  O?" 

144.  Ay,  or  I '//  cudgel  him,  etc.     Furness  thinks  this  sounds 
more  like  Andrew  than  Sir  Toby,  after  his  longing  for  a  "stone- 
bow,"  etc.     I  see  no  reason  for  such  change.     A  cudgelling  from 
Toby  would  be  no  "  anti-climax." 

152.  Are.  Changed  by  Rowe  to  "is";  but  this  "confusion  of 
proximity,"  as  Abbott  calls  it,  is  not  unfrequent  in  S.  Cf.  J.  C. 
v.  i.  33:  "The  posture  of  your  blows  are  yet  unknown."  See  also 
Hen.  V.  v.  2.  19,  Ham.  i.  2.  38,  etc.  For  soft,  see  on  99  above. 

154.   In  my  stars.     In  my  destiny.     See  on  i.  3.  138  above. 

160.  Opposite.     Antagonistic,  hostile;   as  in  Rich.  III.  iv.  4.  215, 
402.     Cf.  the  use  of  the  noun  =  opponent,  in  iii.  2.  68  and  iii.  4. 
242,  280  below. 

161.  Tang.     Twang.     The  only  other  instance  of  the  verb  in  S. 
i§  in  iii.  4.  75  below. 

164.  Yellow  stockings.     Much  worn  in  the  time  of  S.     Steevens 
cites  many  allusions  to  the  fashion  in  contemporaneous  writers, 
and  Clarke  refers  to  the  evidence  of  it  still  existing  "in  the  saffron- 
coloured  hose  of  the  London  Blue-Coat  or  Christ's-Hospital  boys, 
who  maintain  the  same  costume  as  was  worn  in  the  time  of  the 
royal  boy-founder  of  their  school,  Edward  VI." 

165.  Cross-gartered.     The  fashion  of  wearing  the  garters  crossed 
in  various  styles  is  illustrated  by  several  woodcuts  in   Halliwell- 
Phillipps's  folio  ed.     Steevens  quotes,  among  other  references  to 
the   practice,  The   Lovers  Melancholy,   1629:    "As   rare    an   old 
youth  as  ever  walk'd  cross-gartered." 


1 86  Notes  [Act  ii 

170.  The  Fortunate-Unhappy.     The  folio  disguises  the  passage 
thus :  "  Farewell,  shee  that  would  alter  seruices  with  thee,  tht  \_sic~] 
fortunate  vnhappy  daylight   and   champian   discouers   not   more : 
This  is  open,"  etc. 

171.  Daylight  and  champaign,  etc.      Daylight    and    an   open 
country  cannot  make  things  plainer, 

172.  /  will  read  politic  authors.     "That  is,  authors   on  state- 
craft;  so  that  his  tongue  may  tang  arguments  of  state"  (Furness). 

174.  Point-devise.     Exactly,  with  utmost    precision;    also  spelt 
point-device.     Cf.  A.  Y.  L.  iii.  2.  401  and  L.  L.  L.  v.  i.  21. 

175.  Jade  me.     Make  me  appear  like  a  jade,  make  me  ridicu- 
lous.    For  the  contemptuous  use  of  the  noun  jade,  cf.  Much  Ado, 
i.  I.  145:  "  a  jade's  trick,"  etc. 

181.  Strange,  stout.  That  is,  distant,  or  reserved,  and  proud,  or 
overbearing.  Cf.  v.  I.  214  below:  "a  strange  regard";  and 
2  Hen.  VI.  i.  I.  187:  "As  stout  and  proud  as  he  were  lord  of 
all." 

192.  The  Sophy.  The  Sufi  or  Shah  of  Persia.  Cf.  M.  of  V.  ii. 
i.  25  :  "  the  Sophy  and  a  Persian  prince  ";  and  Bacon,  Essay  43 : 
"  Ismael,  the  Sophy  of  Persia" 

199.    G1  my  neck.     Of  and  on  were  often  confounded. 

20 1.  Tray- trip.  A  game  in  which  success  depended  on  throw- 
ing a  trois  (Nares).  It  is  often  mentioned  by  writers  of  the  time, 
but  by  S.  only  here. 

209.  Aqua-vita.  "The  old  name  of  strong  waters"  (Johnson). 
Cf.  R.  andj.  iii.  2.  88,  iv.  5.  16,  etc. 

212.  A  colour  she  abhors,  etc.  I  am  not  aware  that  any  com- 
mentator has  noted  the  inconsistency  of  Maria's  assertions  that 
yellow  is  a  colour  Olivia  abhors  and  cross-gartering  a  fashion  that 
she  detests,  and  what  she  has  written  in  the  forged  letter :  "  Re- 
member who  commended  thy  yellow  stockings,"  etc.;  which  is 
confirmed  by  Malvolio  when  he  reads  it.  Possibly  Olivia  had 
spoken  ironically  ;  but  more  likely  it  is  one  of  S.'s  inconsistencies 
in  minor  matters, 


Scene  I]  Notes  1 87 

218.    Tartar.    Tartarus.     Cf.  C.  of  E.  iv.  2.  32:  "Tartar  limbo, 
worse  than  hell";  and  Hen.  V.  ii.  2.  123:  "  vasty  Tartar." 


ACT    III 

SCENE  I.  —  2.  By  thy  tabor.  The  tabor  (a  small  drum)  was  an 
instrument  often  used  by  professional  clowns,  and  Tarleton,  the 
celebrated  jester,  is  represented  in  an  old  print  as  playing  on  it. 
Here  there  is  a  play  upon  by,  but  it  is  not  necessary  to  see  in  tabor 
any  allusion  to  its  use  as  the  sign  or  name  of  an  inn. 

8.  Lies.  Lodges,  lives ;  a  common  meaning  of  the  word.  Cf. 
T.  G.  of  V.  iv.  2.  137:  "  Where  lies  Sir  Proteus?"  etc. 

11.  To  see  this  age !    Cf.  Ham.  v.  I.  151  :  "the  age  is  grown  so 
picked,"  etc. 

12.  Cheveril.     Kid;   elsewhere  used  as  a  symbol  of  flexibility. 
Cf.  Hen.    VIII.  ii.  3.   32:  "your  soft  cheveril  conscience";   and 
R.  and  J.  ii.  4.  87:  "a  wit  of  cheveril,  that  stretches  from  an  inch 
narrow  to  an  ell  broad." 

14.  Dally  nicely.  Play  subtly  or  sophistically.  Cf.  Rich.  II.  ii. 
I.  84 :  "  Can  sick  men  play  so  nicely  with  their  names?  " 

21.  Since  bonds  disgraced  them.  There  is  some  quibble  on  bonds, 
but  it  has  not  been  satisfactorily  explained. 

36.  Pilchards.  The  fish  "  is  so  like  the  herring  that,  according 
to  Lord  Teignmouth,  they  can  only  be  distinguished  by  the  ability 
of  the  pilchard  to  furnish  the  fat  in  which  it  can  be  fried,  which 
the  herring  lacks  "  (White). 

40.  The  orb.  The  earth  ;  as  in  A.  and  C.  v.  2.  85  :  "  But  when 
he  meant  to  quail  and  shake  the  orb,"  etc. 

44.  Pass  upon.     Make   a   thrust   at ;    a   metaphor  taken  from 
fencing.     For  the  literal  use,  see  Ham.  v.   2.  309 :  "  I  pray  you, 
pass  with  your  best  violence,"  etc. 

45.  Expenses.     Money  to  spend.     Schmidt  makes  it  "  drinking- 
money." 


PRflPFRTY  OF 


1 88  Notes  [Act  m 

46.    Commodity.     Consignment,  goods  sent. 

51.  A  pair  of  these.     Referring   of  course    to   the   coin   given 
him. 

52.  Use.     Usury,  interest.     Cf.  V.  and  A.  768 :"  But  gold  that 's 
put  to  use  more  gold  begets,"  etc. 

53.  Lord  Pandarus,  etc.     Cf.  T.  and  C.i.  I.  98,  where  Troilus 
says,  "  I  cannot  come  to  Cressid  but  by  Pandar,"  etc.     See  also 
M.  W.  i.  3.  83 :  "  Shall  I  Sir  Pandarus  of  Troy  become?  " 

57.  Cressida  was  a  beggar.     According  to  the  story,  she  finally 
became  a  leper  and  begged  by  the  roadside. 

58.  Construe.     Spelt  "  conster  "  in  the  folio,  as  elsewhere,  indi- 
cating  the   common    pronunciation.     So   "misconster"   for   mis- 
construe. 

60.  Welkin.  Sky.  See  on  ii.  3.  61  above  ;  and  for  element  in 
the  same  sense,  i.  I.  26  above. 

66.  *  Not,  like  the  haggard,  etc.  The  folios  have  "  And  like  "  ; 
the  correction  was  suggested  by  Johnson.  For  haggard=  a  wild 
or  untrained  hawk,  cf.  Muck  Ado,  iii.  I.  36,  etc. ;  and  for  check, 
see  on  ii.  5.  123  above.  The  meaning  seems  to  be  that  the  Fool 
must  use  tact  and  discrimination  in  his  sallies,  not  make  them  at 
random.  The  folio  reading  is  inconsistent  with  the  context,  but 
attempts  have  been  made  to  explain  it. 

70.  Wise  merfs  folly  shown,  etc.  The  1st  folio  reads  "wisemens 
folly  falne,  quite  taint,"  etc.  ("wise  mens"  in  later  folios).  The 
reading  in  the  text  is  Hanmer's,  and  is  adopted  by  White,  who  re- 
marks :  "  The  antithesis  is  plainly  between  the  folly  which  the  fool 
shows  and  that  which  the  wise  men  show.  The  former  isyf/,  that 
is,  becoming  ;  but  the  latter,  being  unfit,  that  is,  unbecoming,  quite 
taints  their  wit,  or  intelligence."  Many  editors  adopt  Capell's 
reading,  "  wise  men,  folly-fallen  [that  is,  fallen  into  folly] ,  quite 
taint,"  etc.,  and  Furness  prefers  it. 

73.  Dieu  votis  garde.  As  Sir  Andrew  did  not  know  the  mean- 
ing of  pourquoi  (i.  3.  93  above),  some  have  thought  it  an  over- 
sight on  the  part  of  S.  that  he  is  made  to  speak  French  here ;  but 


Scene  I]  Notes  189 

we  may  suppose  that  he  had  merely  picked  up  a  few  phrases,  which 
he  airs  upon  occasion.  Viola  humours  the  affectation  by  replying 
in  French,  but  Andrew  either  does  not  know  what  serviteur 
(servant)  means,  or  blunders  in  his  usual  way  in  replying  /  hope, 
sir,  you  are.  Toby  (in  i.  3.  27)  evidently  exaggerated  Andrew's 
knowledge  of  the  "  tongues."  Cf.  what  Andrew  himself  says  in 
the  pourquoi  passage.  The  folio,  which  invariably  corrupts  French, 
has  "  pur-quoy  "  for  pourquoi  ;  and  in  the  present  passage,  "  Dieu 
vou  guard  Monsieur  "  and  "  Et  vouz  ousie  vostre  serviture." 

76.  Encounter.      Go   towards;    in   the   affected    style    of   the 
time. 

77.  Trade.     Business  ;  as  in  Ham.  iii.  2.  346  :  "  Have  you  any 
further  trade  with  us?  " 

79.  List.     Bound,  limit ;   here  used  affectedly  for  goal  or  end,  in 
sportive  keeping  with  Sir  Toby's  address. 

80.  Taste.     Try.     Probably  meant  as  another  bit  of  affectation, 
and  not  an  ordinary  metaphor,  like  "  taste  their  valour  "  in  iii.  4. 
256  below. 

86.  Prevented.  Anticipated.  Cf.  Ham.  ii.  2.  305  :  "so  shall 
my  anticipation  prevent  your  discovery,"  etc.  See  also  Psalms, 
cxix.  147  :  "  I  prevented  the  dawning  of  the  morning,"  etc. 

92.    Pregnant.     See  on  ii.  2.  28  above. 

113.  Music  from  the  spheres.     For  the  allusion  to  the  Pythag- 
orean doctrine  of  the  music  of  the  spheres,  cf.  A.  Y.  L.  ii.  7.  6, 
M.  of  V.\.  I.  60,  A.  and  C.  v.  2.  84,  etc.     Spheres  and  dear  are 
dissyllables. 

114.  Beseech  you.    The  ellipsis  of  the  nominative  is  common  in 
such  phrases.     Cf.  "  Pray  God  "  in  iii.  4.  108,  "  Prithee  "  (a  corrup- 
tion of  "pray  thee")  in  iii.  4.  116,  etc. 

115.  In  enchantment  there  is  an  allusion  to  the  old  idea  of  love- 
charms.     Cf.  Oth.  i.  2.  63  :  "  thou  hast  enchanted  her,"  etc. 

116.  Abuse.     Deceive;   as  often.     Cf.  Temp.  v.  I.  112,  A.  Y.  Z. 
iii.  5.  80,  etc. 

122.   Baited  it.     An  allusion  to  "  bear-baiting"  (i.  3.  96  above). 


190  Notes  [Act  m 

Cf.  2  Hen.  VI.  v.   I.  148  :  "  Are  these  thy  bears  ?  we  '11  bait  thy 
bears  to  death,"  etc. 

1230   Receiving.     Ready  apprehension.     Cf.  ii.  2.  II  above. 

124.  Cypress.     See  on  ii.  4.  52  above.      Cf.  W.  T.  iv.  4.  220:  — 

"  Lawn  as  white  as  driven  snow, 
Cyprus  black  as  e'er  was  crow ;  " 

and  Milton,  //  Pens.  35  :  — 

"  And  sable  stole  of  Cyprus  lawn, 
Over  thy  decent  shoulders  drawn." 

Halliwell-Phillipps  quotes  the  Ballad  of  Robin  Hood,  Scarlet,  and 
John  :  — 

"  Her  riding-suit  was  of  sable-hue  black, 

Cyprus  over  her  face, 

Through  which  her  rose-like  cheeks  did  blush 
All  with  a  comely  grace." 

125.  Hideth.    The  conjecture  of  Delius  for  the  "Hides"  of  ist 
folio.     The  later  folios  read  "  Hides  my  poor  heart."     Malone  took 
hear  to  be  a  dissyllable,  like  dear  in  113  above,  but  he  was  clearly 
wrong. 

126.  Degree.     Step  ;  like  grise  (cf.  Oth.  i.  3.  200)  in  the  next 
line. 

127.  A  vulgar  proof.     A  matter  of  common  experience-,   as  in 
J.  C.  ii.  I.  21 :  "  't  is  a  common  proof,"  etc. 

136.  Proper.     Comely,  handsome  ;   as  in  M.   N.    D.  \.    2.   88, 
M.  of  V.  i.  2.  77,  etc. 

137.  Westward-ho !    The   familiar  cry  of  the  boatmen  on  the 
Thames,  like  "  Eastward-ho  !  "     The  former  was  taken  as  the  name 
of  a  comedy  by  Dekker,  as  the  latter  was  by  Chapman  and  Marston. 

153.  Maidhood.     Cf.   Oth.  i.   I.    173:    "youth    and   maidhoocl." 
See  on  i.  5.  224  above. 

154.  Maugre.     In  spite  of  j   used  only  here  and  in  T.  A.  iv.  2, 
1 10  and  Lear,  v.  3.  131, 


Scene  II]  Notes  19! 

157.   For  that.     Because.     See  on  i.  2.  48  above. 

162.  And  that  no  woman  has.     And  that  has  never  been  given 
to  woman;    that  referring  to  the  idea  of  "true  love"  implied  in 
heart,  bosom,  and  truth.     For  the  triple  negative  in  nor  never  none, 
cf.  A.  Y.  L.  i.  2.  27 :   "  nor  no  further  in  sport  neither,"  etc. 

163.  Save  is   often    followed    by  the  nominative,  but  I  doubt 
whether  it  is  used  for  saved,  as  Abbott  {Grammar,  118)  makes  it. 
S.  often  puts  pronouns  in  the  nominative  with  prepositions. 

SCENE  II. —  12.  Argument.  Proof.  Cf.  Much  Ado,  ii.  3.  243, 
L.  L.  L.  i.  2.  175,  etc. 

14.    ^Slight.     See  on  ii.  5.  34  above. 

22.  Liver.     See  on  ii.  4.  100  above  ;   and  for  accosted,  cf.  i.  3.  51. 

23.  Fire-new.     Fresh  from  the  mint,  like  brand-neiv.     Cf.  L.  L. 
L.\.  i.  179:  "fire-new  words";  Rich.   III.  i.  3.  256:  "Your  fire- 
new  stamp  of  honour  is  scarce  current,"  etc. 

27.  Sailed  into  the  north,  etc.  Mr.  C.  H.  Coote,  in  a  paper  on 
the  "  new  map"  of  83  below,  read  before  the  New  Shakspere  Soci- 
ety, June  14,  1878,  makes  this  a  reference  to  the  discovery  of 
Northern  Novya  Zembla  by  the  Dutchman  Barenz  in  1596,  the 
news  of  which  did  not  reach  Holland  until  1598. 

33.  Brownist.     The  Brownists  were  a  Puritan   sect,  so   called 
from  Robert  Browne,  a  noted  separatist  of  Elizabeth's  time. 

34.  Politician  is  generally  used  by  S.  in  an  unfavourable  sense. 
Cf.  i  Hen.  IV.  i.  3.  241,  Lear,  iv.  6.  175,  etc. 

35.  Build  me.     The  me  is  the  familiar  colloquial  expletive  (like 
the  Latin  "  ethical  dative  ") ;   as  in  the  next  sentence  and  in  iii.  4. 
187  (" scout  me")  below. 

39.  Love-broker.  Agent  or  "  ambassador  of  love  "  ( M.  of  V.  ii. 
9.  92). 

45.  Curst.  Sharp,  waspish  ;  as  often.  Cf.  W.  T.  iii.  3.  135, 
Lear,  ii.  I.  67,  etc. 

47.  With  the  license  of  ink.  "  With  all  the  freedom  of  speech 
which  the  written  word  allows  "  (Furness). 


192  Notes  [Act  m 

Thottst  him.  The  use  of  thou  towards  strangers  who  were  not 
inferiors  was  an  insult.  %  S.  uses  the  verb  only  here. 

51.  77/<?  bed  of  Ware.     This  famous  old  four-poster  was  ten  feet 
and  nine  inches  square,  and  capable  of  holding  a  dozen  persons.     A 
cut  of  it  may  be  found  in  Knight's  Pictorial  Shakspere,  in  Halliwell- 
Phillipps's  folio  eel.,  and  in  Chambers's  Book  of  Days.     Dyce  says: 
"  At  what  inn  in  Ware  it  was  kept  during  Shakespeare's  days  is 
uncertain  ;   but,  after  being  for  many  years  at  the  Saracen's  Head, 
it  was  sold  there  by  auction  in  September,  1864,  and  knocked  down 
at  a  hundred  guineas,  the  newspapers  erroneously  adding  that  Mr. 
Charles  Dickens  was  the  purchaser." 

52.  Gall.      Cf.   Cymb.  i.   I.    101 :    "Though   ink   be   made    of 
gall" 

56.  Cubic ulo.     Chamber,  lodging  (from  the  Latin  cubiculuni) ; 
another  of  Sir  Toby's  "  affectioned  "  words. 

57.  Manikin.     Little  man  ;   contemptuous.     S.  uses  the  word 
only  here. 

64.  Wainropes.  Cart-ropes.  See  on  ii.  5.  66  above ;  and  for 
hale  '(  =  haul,  draw),  see  Much  Ado  iii.  3.  62,  etc. 

66.  Liver.     See  on  ii.  4.  100  above. 

67.  Anatomy.     Contemptuous  for  body ;  as  in  R.  and  J.  iii.  3. 
106  (Schmidt). 

68.  Opposite.     Opponent.     See  on  ii.  5.  160  above. 

70.  Nine.  The  wren  lays  nine  or  ten  eggs  at  a  time,  and  the 
last-hatched  nestling  is  generally  the  smallest  of  the  brood  (Stee- 
vens).  The  folio  has  "  mine,"  which  some  editors  retain.  Furness 
thinks  it  is  probably  right. 

72.  Spleen.     Apparently  here  —  a  fit   of  laughter   or  excessive 
mirth.    Cf.  T.  of  S.  ind.  I.  137 :  "  their  over-merry  spleen  ";  T.  and 
C.  i.  3.  178:  "I  shall  split  all  in  pleasure  of  my  spleen,"  etc. 

73.  Stitches.     Cf.   Temp.  i.  2.  326 :  — 

"  For  this,  be  sure,  to-night  thou  shalt  have  cramps, 
Side-stitches  that  shall  pen  thy  breath  up." 


Scene  II]  Notes  193 

74.   Renegado.     Apostate  ;  used  by  S.  only  here. 
76.  Passages.    Acts ;  as  in  I  Hen.  IV.  iii.  2.  8 :  "  passages  of 
life,"  etc. 

79.  Pedant.     Pedagogue  ;  its  only  sense  in  S.     Cf.  Z.  L.  Z.  iii. 
I.  179:   "a  domineering  pedant  o'er  the  boy,"  etc. 

80.  A   school  i'  the  church.     Halliwell-Phillipps  states  that  the 
Grammar  School  at  Stratford  was  at  intervals  during  Shakespeare's 
time  (probably  while  the  schoolhouse  was  under  repair)  kept  in  the 
adjacent  Chapel  of  the  Guild,  which  was  separated  only  by  a  lane 
from  New  Place.     The  Chapel  was  founded  in  1269  ;   but  the  chan- 
cel was  rebuilt  in  1450,  and  the  rest  of  the  edifice  in  the  reign  of 
Henry  VII.,  to  which  period  the  schoolhouse  also  belongs. 

83.  The  new  map,  etc.  The  editors  have  generally  followed 
Steevens  in  seeing  here  an  allusion  to  a  map  engraved  for  Linscho- 
ten's  Voyages,  an  English  translation  of  which  was  published  in 
1598.  But,  as  Mr.  Coote  has  proved  in  the  paper  mentioned  above 
(see  on  27),  this  map  was  not  a  new  one,  but  "a  feebly  reduced 
copy  of  an  old  one,  the  latest  geographical  information  to  be  found 
on  it  when  T.  N.  appeared  being  at  least  thirty  years  old,"  and 
"it  showed  no  portion  of  the  great  Indian  peninsula."  The  true 
new  map  was  pretty  certainly  one  which  Hallam  in  his  Literature 
of  Europe  calls  "the  best  map  of  the  i6th  century,"  and  which  he 
says  is  "  found  in  a  few  copies  of  theyfr^/  edition  of  Hakluyt's  Voy- 
ages." This  edition,  however,  was  published  in  1589,  while  the 
map  (as  it  is  referred  to  just  above)  records  discoveries  made  at 
least  seven  years  later.  "The  truth,"  as  Mr.  Coote  remarks,  "seems 
to  be  that  it  was  a  separate  map  well  known  at  the  time,  made  in  all 
probability  for  the  convenience  of  the  purchasers  of  either  one  or 
the  other  of  the  two  editions  of  Hakluyt "  [the  second  was  pub- 
lished in  1598-1600].  The  author  of  the  map  was  probably  Mr. 
Emmerie  Mollineux  of  Lambeth,  who  was  also  the  first  Englishman 
to  make  a  terrestrial  globe. 1 

1This  globe  was  brought  out  in  1592,  and  "the  only  example  of  it 
known  to  exist  in  England  is  the  one  now  preserved  in  the  Library 
TWELFTH   NIGHT — 13 


194  Notes  [Act  m 

The  augmentation  of  fhe  Indies  on  this  map  consists  in  "  a  marked 
development  of  the  geography  of  India  proper,  then  known  as  the 
land  of  the  Mogores  or  Mogol,  the  Island  of  Ceylon,  and  the  two 
peninsulas  of  Cochin-China  and  the  Corea."  Japan  also  "  began  to 
assume  its  modern  shape,"  and  there  are  "  traces  of  the  first  ap- 
pearance of  the  Dutch  under  Houtman  at  Bantam  (west  end  of 
Java),  synchronizing  almost  within  a  year  with  that  of  their  fellow- 
countrymen  in  Novya  Zembla,  and  which  within  ten  years  led  to 
their  unconscious  discovery,  or  rather  rediscovery,  of  Australia." 
It  may  be  added  that  this  map  has  more  lines  than  the  one  in  Lin- 
schoten's  Voyages,  there  being  sixteen  sets  of  rhumblines  on  the 
former  to  twelve  on  the  latter.  Mr.  Coote's  paper  is  printed  in  full 
in  the  Transactions  of  the  New  Shakspere  Society,  1877-79,  p.  88 
fol.,  with  a  facsimile  engraving  of  a  portion  of  the  map. 

85.  /  can  hardly  forbear  hurling  things  at  him.  "  O  mighty 
Master !  "  is  Furness's  apt  comment  on  this  feminine  touch. 

SCENE  III.  —  8.  Jealousy.  Apprehension.  It  is  often  =  suspi- 
cion ;  as  in  Hen.  V.  ii.  2.  126. 

9.    Skilless.     Inexperienced.     Cf.  Temp.  iii.  I.  53:  — 

"  How  features  are  abroad 
I  am  skilless  of  ;  " 

and  R.  and  J.  iii.  3.  132:  "Like  powder  in  a  skilless  soldier's 
flask." 

14.  But  thanks,  etc.  The  folio  reads  :  "  And  thankes  :  and  euer 
oft  good  turnes."  The  emendation  is  due  to  Theobald,  and  is  the 
best  of  the  many  that  have  been  proposed. 

17.    Worth.     Wealth,  fortune.     Cf.  R.  and  f.  ii.  6.  32:  "They 

of  the  Middle  Temple,  with  the  date  altered  (by  the  pen)  to  1603."  Mr. 
Coote  suggests  that,  as  S.  was  not  unfamiliar  with  the  use  of  the  globe 
(see  C.  of  E.  iii.  2.  116,  and  cf.  R.  of  L.  407),  "  he  may  possibly  have 
consulted  and  handled  this  precious  monument  of  geography,  f he  first 
globe  made  in  England  and  by  an  Englishman'' 


Scene  IV]  Notes  195 

are  but  beggars  that  can  count  their  worth";    Oth.  i.  2.  28:    "the 
sea's  worth";   Lear  iv.  4.  10:  "my  outward  worth,"  etc. 

1 8.  What 's  to  do?    The  active  use  of  the  infinitive  is  still  good 
English. 

19.  Reliques.    Explained  by  the  memorials  and  things  of  fame 
in  24  just  below. 

24.  Renown.  Cf.  Hen.  V.  i.  2.  118:  "The  blood  and  courage 
that  renowned  them,"  etc.  The  participle  renowned  is  still  in  use. 

26.   His.     Cf.  i  Hen.  VI.  iii.  2.  123:   "  Charles  his  gleeks,"  etc. 

29.   Belike.    Probably,  very  likely;  as  often.    Cf.  iii.  4.  256  below. 

32.  Bloody  argument.  Cf.  Hen.  V.  iv.  I.  150:  "when  blood  is 
their  argument";  Id.  iii.  I.  21 :  "And  sheath'd  their  swords  for 
lack  of  argument,"  etc. 

36.  Lapsed.     Surprised,  caught  (Schmidt).   The  New  Eng.  Diet. 
gives  it  with  a  ?  as  —  apprehended.    The  word  occurs  again  in  Ham. 
iii.  4.  107,  where  it  is  also  somewhat  perplexing. 

37.  Open.    Openly.    Cf.  in  open  in  Hen.  VIII.  iii.  2.  405  :   "  was 
view'd  in  open  as  his  queen." 

41.  Whiles.  Needlessly  changed  by  some  editors  to  "while." 
Cf.  Temp.  ii.  i.  217,  284,  310,7.  C.  i.  2.  209,  etc. 

SCENE  IV.  —  I.  He  says  he  '//  come.  Apparently  =  Suppose  he 
says  he  '11  come.  Cf.  i.  4.  23  above :  "  Say  I  do  speak  with  her." 

2.  Of.  On.  Cf.  A.  W.  iii.  5.  103 :  "  I  will  bestow  some  precepts 
of  this  virgin  "  ("  on  "  in  later  folios),  etc. 

5.  Sad  and  civil.  Serious  and  grave.  For  sad,  cf.  19  and  78 
below;  and  for  civil,  cf.  R.  and  J.  iii.  2.  10,  etc. 

12.    Were  best.     See  on  i.  5.  28  above. 

23.  Please  one,  etc.  The  title  of  an  old  ballad,  from  which  Fur- 
ness  makes  some  extracts.  Sonnet  was  often  used  loosely  for  a'  short 
song  or  poem. 

52.  Thy  yellow  stockings  !  Lettsom  suggested  "  My  yellow  stock- 
ings !  "  as  Olivia  has  no  idea  that  Malvolio  is  quoting  the  letter. 

57.  Am  I  made?    It  has  been  suggested  by  those  who  believe 


196 


Notes  [Act  m 


that  Olivia  was  a  widow  (see  p.  10  above)  that  made  should  be 
"  maid  ";  but  this  is  sufficiently  disproved  by  i.  2.  36  above.  Clarke 
says :  "  Olivia's  surprise  is  at  hearing  that  she,  the  rich  heiress,  the 
lady  of  rank,  should  be  supposed  to  have  a  chance  of  making  her 
fortune,  of  becoming  *a  made  woman.'"  Cf.  M.  N.  D.  iv.  2.  18: 
"We  had  all  been  made  men."  Furness  favours  this  interpreta- 
tion. 

60.  Midsummer  madness.  Steevens  quotes  from  Ray's  Proverbs, 
"  'T  is  midsummer  moon  with  you "  (that  is,  you  are  mad) ;  and 
Halliwell-Phillipps,  among  many  similar  allusions,  gives  from  Pals- 
grave, 1590 :  "  He  wyll  waxe  madde  this  mydsommer  moone,  if  you 
take  nat  good  hede  on  hym";  and  Poor  Richard"1  s  Almanack: 
"  Some  people  about  midsummer  moon  are  affected  in  their  brain." 

67.  Miscarry.  Often  =  come  to  a  bad  end,  perish,  die,  etc.  Cf. 
M.  of  V.  ii.  8.  29,  iii.  2.  318,  v.  I.  251,  Cor.  i.  I.  270,  R.  and  J.  v. 
3.  267,  etc. 

69.   Come  near  me.     Understand  me,  know  who  I  am  (Wright). 

75.   Tang.     Cf.  ii.  5.  161  above. 

77.  Consequently.  Subsequently,  afterwards  ;  as  in  K.John,  iv. 
2.  240,  etc. 

79.  Sir.  Lord ;  as  in  Temp.  v.  I.  69  :  "a  loyal  sir,"  etc.  Limed 
her  =  caught  her  as  with  bird-lime.  Cf.  R.  of  L.  88,  Macb.  iv.  2.  34, 
etc. 

82.  Fellow.     He  takes  the  word  in  the  sense  of  "  companion  " 
(Johnson). 

83.  Adheres.    Coheres,  is  in  accordance.     Cf.  Macb.  i.  7.  52, 
M.  W.  ii.  i.  62,  etc. 

85.  Incredulous.  Incredible.  Cf.  deceivable  in  iv.  3.  21  below, 
and  unprizable  in  v.  I.  56.  Many  adjectives  (particularly  in  -ble, 
-ful,  -less,  etc.)  are  used  by  S.  in  both  active  and  passive  senses. 
See  on  comfortable,  i.  5.  236. 

91.  In  little.     In  a  small  compass.     Cf.  L.  C.  91 :  — 
"  For  on  his  visage  was  in  little  drawn 
What  largeness  thinks  in  Paradise  was  sawn  [sown]." 


Scene  IV]  Notes  197 

92.   Legion  himself.     Cf.  Mark  v.  9.     See  also  Ham.  ii.  2.  383. 

97.  Private.     Privacy  ;  as  in  the  common  phrase  in  private. 

no.  Water.  For  other  allusions  to  this  method  of  diagnosis,  see 
2  Hen.  IV.  \.  2.  2  and  Macb.  v.  3.  51.  Douce  remarks :  "  Here  may 
be  a  direct  allusion  to  one  of  the  two  ladies  of  this  description 
mentioned  in  the  following  passage  from  Heywood's  play  of  The 
Wise  Woman  of  Hogsdon  :  'You  have  beard  of  Mother  Notting- 
ham, who  for  her  time  was  pretty  well  skill' d  in  casting  of  waters  : 
and  after  her  Mother  Bombye.' " 

121.  Bawcock.  Used  like  chuck  (=  chick]  but  always  masculine 
(Schmidt).  Cf.  W.  T.  i.  2.  121,  Hen.  V.  iii.  2.  26,  iv.  I.  44,  etc.; 
and  for  chuck,  Macb.  iii.  2.  45,  Oth.  iii.  4.  49,  iv.  2.  24,  etc. 

125.  Cherry-pit.     A  game  in  which  cherry-stones  were  pitched 
into  a  small  hole  ;  mentioned  by  S.  only  here.    Steevens  quotes  The 
Witch  of  Edmonton  :  "  I  have  lov'd  a  witch  ever  since  I  play'd  at 
cherry-pit." 

126.  Collier.    The  devil  was  so  called  for  his  blackness.    Johnson 
quotes  the  old  proverb,  "  Like  will  to  like,  quoth  the  Devil  to  the 
collier." 

133.   Element.     Cf.  iii.  I.  60  above. 

140.    Take  air  and  taint.     Be  exposed  and  spoiled. 

144.  In  a  dark  room  and  bound.  On  the  old-time  treatment  of 
the  insane,  cf.  A.  Y.  L.  iii.  2.  382 :  "  a  dark  house  and  a  whip,"  etc. 

150.  A  finder  of  madmen.  Alluding  to  the  legal  phrase,  find- 
ing mad  (cf.  finding  guilty,  etc.) . 

152.  For  a  May  morning.  An  allusion  to  the  popular  sports 
and  diversions  of  May-day. 

1 60.  Admire.     Wonder.    Cf.  Temp.  v.  I.  154:  — 

"  these  lords 

At  this  encounter  do  so  much  admire 
That  they  devour  their  reason,"  etc. 

175.  The  windy  side.  The  safe  side;  a  metaphor  taken  from 
hunting.  Cf.  Much  Ado,  ii.  I.  327:  "it  keeps  on  the  windy  side 
of  care "  ;  that  is,  "  so  that  care  cannot  scent  and  find  it." 


198  Notes  [Act  m 

179-  Upon  mine.  Johnson  suggested  "upon  thine";  but,  as 
Mason  remarks,  the  old  reading  is  more  humorous.  "  The  man  on 
whose  soul  he  hopes  that  God  will  have  mercy  is  the  one  that  he 
supposes  will  fall  in  the  combat;  but  Sir  Andrew  hopes  to  escape 
unhurt,  and  to  have  no  present  occasion  for  that  blessing."  Cf. 
what  Dame  Quickly  says  in  Hen.  V.  iii.  2.  20 :  "  Now  I,  to  comfort 
him,  bid  him  a'  should  not  think  of  God  ;  I  hoped  there  was  no 
need  to  trouble  himself  with  any  such  thoughts  yet." 

185.  Commerce.  Business,  intercourse.  Cf.  Ham.  iii.  I.  no,  etc. 
By  and  by  =  presently,  soon  ;  as  often. 

187.  Scout.     Be  on  the  lookout.     For  me,  see  on  iii.  2.  35  above. 

1 88.  Bum-baily.     Changed  by  Theobald  to  "  bum-bailiff  ";    but 
the  blunder  was  no  doubt  intentional. 

190.   Horrible.     For  the  adverbial  use,  cf.  unchary,  213  below. 
192.    Gives  manhood  more  approbation.     That  is,  gets  one  more 
credit  for  manly  courage.     For  approbation  •=.  attestation,  cf.  Hen.  V. 
i.  2.  19:  — 

"Shall  drop  their  blood  in  approbation 
Of  what  your  reverence  shall  incite  us  to." 

207.  Cockatrices.  For  the  fabled  power  of  the  cockatrice  or 
basilisk  to  kill  with  a  look,  cf.  R.  and  J.  iii.  2.  47:  "the  death- 
darting  eye  of  cokatrice  ";  A\  of  L.  540 :  "  a  cockatrice'  dead-killing 
eye,"  etc. 

213.  On^t.  Some  editors  adopt  Theobald's  "out,"  and  Furness 
approves  it ;  but  no  change  seems  called  for.  I  am  inclined,  with 
Schmidt,  to  make  laid  on  V  =  staked  upon  it.  Cf.  M.  of  V.  iii.  5. 
85  :  "  And  on  the  wager  lay  two  earthly  women  "  ;  Ham.  v.  2.  1 74 : 
"  he  hath  laid  on  twelve  for  nine,"  etc.  Unchary  —  heedlessly, 
recklessly. 

217.  Haviour.  Commonly  printed  "'haviour,"  but  it  is  not  a 
contraction  of  behaviour. 

219.  Je^veL  "Any  personal  ornament  of  gold  or  precious  stones  " 
(Schmidt),  a  piece  of  jewelry.  Thus  in  M.  of  V.  v.  I.  224,  it  is  =  a 
ring ;  in  Cymb.  ii.  3.  146,  a  bracelet,  etc.  Steevens  quotes  Mark- 


Scene  IV]  Notes  199 

ham,  Arcadia,  1607  :  "  She  gave  him  a  very  fine  jewel,  wherein  was 
set  a  most  rich  diamond." 

228.   A  fiend  like  thee.     That  is,  if  he  were  like  thee. 

234.  Attends.     Is  waiting  for.     Cf.  M.  W.'\.\.  279:  "the  dinner 
attends  you,"  etc. 

235.  Dismount  thy   tuck  =  draw   thy   sword   or   rapier.     Cf.  I 
Hen.  IV.  ii.  4.  274:  "you  vile  standing-tuck  "  (no  hyphen  in  early 
eds.).     Halliwell-Phillipps  quotes  Nomenclator,  1585:    "Verutum, 
...  a  rapier;    a  tucke  "  ;    and  Cotgrave   defines  verdun  as  "the 
little  Rapier,  called  a  Tucke."      Yare  —  quick,  ready.     Cf.  A.  and 
C.  Hi.  7.  39 :  "  Their  ships  are  yare,  yours  heavy."     See  also  Id.  iii. 
13.  131,  v.  2.  286,  Temp.  i.  I.  7,  37,  v.   I.  224,  etc.     The  adverb 
yarely  occurs  in  Temp.  i.  r.  4  and  A.  and  C.  ii.  2.  216. 

242.   Opposite.     See  on  ii.  5.  160  above,  and  cf.  280  below. 

246.  Unhatched.     Unhacked.     Cf.  hatched  (Fr.  hache}  =  cut,  en- 
graved, in  T.  and  C.  i.  3.  65.     As  Singer  remarks,  "the  word  exists 
still  in  the  technical  cross-hatching  of  engravers." 

247.  On  carpet  consideration.     That  is,  "a  mere  carpet-knight"; 
which,  according  to  Clarke,  means  one  "  created  in  times  of  peace, 
kneeling  on  a  carpet,  and  not  on  the  field  of  battle." 

249.   Incensement.     Anger,  exasperation  ;   used  by  S.  only  here. 

251.  Hob,  nob.  A  corruption  of  hab  or  nab  =  have  or  have  not, 
hit  or  miss,  at  random.  Holinshed  (Ireland}  has  "  shot  hab  or 
nab  at  random."  Cf.  Hudibras :  "Although  set  down  hab-nab,  at 
random." 

254.  Conduct.  Escort ;  as  in  M.  of  V.  iv.  I.  148,  Hen.  V.  i.  2. 
197,  etc. 

256.  Belike.     See  on  iii.  3.  29  above. 

257.  Quirk  =  humour,  whim.     Cf.  A.  W  iii.  2.  51  :   "quirks  of 
joy  and  grief,"  etc.      Taste  =  test.     See  on  iii.  i.  80  above. 

263.  Meddle.  "  Have  to  do  "  (Schmidt)  ;  as  in  294  below.  Cf. 
R.  and  J.  i.  2.  40 :  "  the  shoemaker  should  meddle  with  his  yard," 
etc.  Malone  compares  the  vulgar  expression,  "  I  '11  neither  meddle 
nor  make  with  it," 


200  Notes  [Act  in 

273.  A  mortal  arbitrement.  "  A  deadly  decision,  and  arbitration 
by  the  sword." 

285.  Sir  priest.     See  on  iv.  2.  2  below. 

286.  Re-enter  Sir  Tody,  etc.     Dyce  begins  a  new  scene  here, 
headed   "  The    Street    adjoining    Olivia's    Garden"      He    says : 
"Though  the  folio  does  not  mark  a  new  scene,  it  is  certain  that 
previous  to  the   entrance   of  the   two   knights,  the  audience  of 
Shakespeare's  days  (who  had  no  painted  movable  scenery  before 
their  eyes)  were  to  suppose  a  change  of  scene."     But,  as  Furness  re- 
marks, "  on  a  stage  like  Shakespeare's,  which  made  such  a  constant 
demand  on  the  imagination,  it  is  conceivable  that  the  two  couples 
might  have  obeyed  the  stage-directions  of  the  folios,  when  at  Exe- 
unt they  retired  a  few  paces,  and  Re-ehtered  by  advancing,  and  all 
the  while  have  remained  but  a  few  paces  apart,  in  full  sight  of  each 
other,  and  yet  be  supposed  to  be  beyond  earshot ;    as  Toby  left 
Viola  he  was  supposed  to  have  made  his  exit,  and  to  have  re- 
entered  as  he  joined  Andrew." 

288.  Fir  ago.     A  corruption  of  virago,  unless  it  be  a  word  coined 
by  Toby.     The  critics  have  been  troubled  because  virago  is  femi- 
nine ;   but   Schmidt  says  it  is  "  used  at  random  by  Sir  Toby  to 
frighten    Sir   Andrew,  who   'has.  not   bestowed   his   time   in   the 
tongues.' "     See  on  ii.  5.  42  above. 

289.  Stuck.     The  same  word  as  stock  =  stoccadot  or  stoccata,  a 
thrust  in  fencing.     Cf.  Ham.  iv.  7.  162:  "your  venomed  stuck." 

293.   The  Sophy.     See  on  ii.  5.  192. above. 

306.  To  take  up  the  quarrel.  That  is,  to  make  it  up,  as  we  say. 
Cf.  A.  Y.  L.  v.  4.  103:  "when  seven  justices  could  not  take  up  a 
quarrel,"  etc. 

308.  Is  as  horribly  conceited.  Is  possessed  with  as  horrible  an 
idea.  For  conceit—  to  form  an  idea,  to  judge,  cf.  J.  C.  i.  3.  162,  iii. 
I.  192,  and  Oth.  iii.  3.  149. 

311.  Oath  sake.  So  printed  in  the  early  eds.,  and  probably  to  be 
explained  in  the  same  way  as  "justice  sake"  (_/.  C,  iv.  3.  19), 
"sentence  end"  (A.  Y.  L.  iii.  2.  144),  etc.  Similarly  we  find  in 


Scene  IV]  Notes  2OI 

the  folio  fashion  sake,  heaven  sake,  recreation  sake,  sport  sake,  etc. 
Abbott  {Grammar,  217)  recognizes  this  ellipsis  only  in  dissyllables 
ending  in  a  sibilant. 

314.  Supportance.  Maintaining,  upholding ;  used  only  here  and 
(literally)  in  Rich.  II.  iii.  4.  32  :  "  supportance  to  the  bending  twigs." 

322.  By  the  duello.  According  to  the  laws  of  duelling.  Cf. 
L.  L.  L.  i.  2.  185  :  "the  duello  he  regards  not."  S.  uses  the  word 
only  twice. 

333.  Undertaker.  One  who  takes  a  business  upon  himself,  as  in 
Oth.  iv.  i.  224,  the  only  other  instance  of  the  word  in  S. 

338.  If  you  please.  "  The  exquisite  humour  and  perfectly  charac- 
teristic effect  of  these  three  words  in  Viola's  mouth,  at  this  juncture, 
are  delightful"  (Clarke). 

346.   Favour.     Face.     See  on  ii.  4.  24  above. 

360.  Part.  For  the  adverbial  use,  cf.  Oth.  v.  2.  296 :  "  hath  part 
confess'd  his  villany,"  etc. 

362.  Having.  Property;  as  in  A.  Y.  L.  iii.  2.  396,  etc.  So  my 
present  —  what  I  now  have. 

372.  Lying,  vainness,  babbling  drunkenness.  The  folio  has 
"  lying,  vainnesse,  babbling  drunkennesse."  Most  editors  insert  a 
comma  after  babbling ;  but  Wright  and  Furness  believe  both  lying 
and  babbling  are  adjectives.  This  is  certainly  true  of  babbling,  but 
I  have  my  doubts  as  to  lying. 

380.  Venerable.  Worthy  of  reverence  or  worship.  It  is  used 
metaphorically,  as  the  context  shows. 

383.  Feature.  For  the  singular  (—  "make,  exterior,  the  whole 
turn  or  cast  of  the  body,"  as  Schmidt  defines  it),  cf.  I  Hen.  VI.  v.  5. 
68 :  "  Her  peerless  feature,  joined  with  her  birth  "  ;  Ham.  iii.  I.  167 : 
"  to  show  virtue  her  own  feature,"  etc. 

385.  Unkind.     Used  in  a  stronger  sense  than  at  present,  and 
almost  =  unnatural.     Cf./.  C.  Hi.  2.  187:  "the  most  unkindest  cut 
of  all";   Lear,  iii.  4.  73:  "his  unkind  daughters,"  etc. 

386.  Beauteous-evil.     "  A  combination  similar  to  proper-false  in 
ii.  2.  31  "  (Furness). 


202  Notes  [Act  iv 

387.  Trunks.  The  allusion  is  to  the  elaborately  carved  chests 
of  the  poet's  time,  specimens  of  which  are  still  to  be  seen  in  museums 
and  old  English  mansions.  Schmidt  makes  o'erflourished  —  "  var- 
nished over";  but  it  more  likely  refers  to  the  florid  carving  of 
these  ancient  trunks.  This  word  is  again  used  figuratively  in 
I  Hen.  IV.  ii.  4.  495,  where  the  Prince  calls  Falstaff  "  that  trunk 
of  humours." 

392.  60  do  not  I.  "This,  I  believe,  means,  I  do  not  yet  believe 
myself  when,  from  this  accident,  I  gather  hope  of  my  brother's 
life"  (Johnson).  It  may  mean  "He  believes  that  he  knows  me; 
I  do  not  believe  so"  (Clarke). 

396.  Couplet.  Couple  ;  used  by  S.  only  here  and  in  Ham.  v.  I. 
310:  "  her  golden  couplets." 

398.  /  my  brother  know,  etc.  That  is,  I  recognize  my  resemblance 
to  my  brother  when  I  see  my  own  face  in  a  mirror.  Furness  approves 
Deighton's  explanation  :  "  I  know  my  brother  to  be  mirrored  to  the 
life  in  my  person,  in  myself  who  am  the  glass,"  but  this  seems  a 
forced  interpretation  of  in  my  glass. 

400.  He  went,  etc.  This  seems  to  be  introduced  by  the  poet  to 
explain  why  Viola  is  dressed  like  her  brother,  which  was  necessary 
to  their  being  taken  for  each  other. 

402.  If  it  prove.  That  is,  "  that  I,  clear  brother,  be  now  ta'en  for 
you." 

410.  'Slid.  A  contraction  of  "by  God's  lid"  ( T.  and  C.  i.  2. 
228). '  It  occurs  again  in  M.  IV.  iii.  4.  24.  See  on  ii.  5.  30  above. 
Religious  in  it ;  that  is,  "  one  who  practises  it  religiously  "  (Furness). 


ACT   IV 

SCENE  I.  — 12.  Vent.  Reed  remarks  that  "this  affected  word 
seems  to  have  been  in  use  in  Shakespeare's  time."  There  can  be 
no  doubt  of  that,  as  he  has  used  it  himself  eight  or  ten  times. 
See  Temp.  i.  2.  280,  A.  Y.  L.  ii.  7.  41,  Lear,  \.  I.  168,  etc. 

14.    This  great  lubber,  the  world.     The  folio  reading,  retained  by 


Scene  II]  Notes  2OJ 

most  of  the  editors.  The  meaning  seems  to  be,  I  am  afraid  the 
whole  world  is  growing  cockneyish  ;  or,  as  Johnson  puts  it,  "  affec- 
tation and  foppery  will  overspread  the  world."  This  certainly 
seems  a  simpler  and  more  natural  explanation  than  we  get  from 
Douce's  emendation,  "  this  great  lubberly  word."  As  Dyce  re- 
marks, it  is  hardly  probable  that  S.  would  have  made  the  Clown 
speak  of  vent  as  "  a  great  lubberly  word,"  or  that  "great  lubberly  " 
could  signify  either  "imposing"  (Badham)  or  "pretentious" 
(White).  The  text  seems  preferable  to  any  emendation  that 
has  been  proposed. 

15.  Ungird  thy  strangeness.  Unbend  or  relax  thy  reserve.  Cf. 
strange  in  ii.  5.  181  above. 

18.  Greek.  Jester,  or  merry-maker.  Cf.  T.  and  C.  i.  2.  118: 
"  a  merry  Greek  indeed";  Id.  iv.  4.  58  :  "  the  merry  Greeks."  The 
Greeks  were  proverbially  spoken  of  by  the  Romans  as  fond  of 
revelry  and  merriment  (Schmidt). 

23.  Fourteen  years'1  purchase.  An  English  technical  term  in 
buying  land.  The  current  price  in  the  time  of  S.  appears  to  have 
been  twelve  years'  purchase  ;  and  fourteen  years'  purchase  may 
therefore  be  =:  a  high  price. 

27.  And  there,  etc.  The  folio  has  "and  there,  and  there,"  but 
the  measure  requires  the  third  "  and  there,"  which  Capell  added. 
Such  omissions  are  not  uncommon  in  the  early  eds. 

40.  Well  fleshed.  Evidently  addressed  to  Sebastian,  not,  as  some 
have  supposed,  to  Sir  Andrew.  Fleshed  —  made  fierce  and  eager 
for  combat,  as  a  dog  fed  with  flesh.  Cf.  Hen.  V.  iii.  3.11:  "  the 
flesh'd  soldier";  Rich.  III.  iv.  3.  6:  "flesh'd  villains,  bloody  dogs," 
etc. 

45.  Malapert.  Pert,  saucy.  Cf.  Rich.  III.  i.  5.  255  :  "  Peace, 
master  marquess,  you  are  malapert." 

50.  Manners.  Used  as  singular  in  A.  W.  ii.  2.  9,  R.  and  J.  v. 
3.  214,  etc. 

52.  Rudesby.  Rude  fellow.  Cf.  T.  of  S.  iii.  2.  10:  "a  mad- 
brain  rudesby,  full  of  spleen." 


204  Notes  [Act  iv 

54.  Extent.  Conduct  (Schmidt);  as  in  Ham.  ii.  2.  390:  "my 
extent  to  the  players."  Johnson  takes  it  to  be  =  violence,  connect- 
ing it  with  the  legal  sense  of  seizure  of  goods,  as  in  A.  Y.  L.  iii. 
i.  17. 

56.  Fruitless.    Vain,  idle,     Cf.  M.  N.  D.  iii.  2.  371 :  "a  dream 
and  fruitless  vision." 

57.  Botch? d  up.     Cf.  the  use  of  botcher  in  i.  5.  48  above.     See 
also  Hen.  V.  ii.  2.  115  and  Ham.  iv.  5.  10. 

59.  Deny.     Refuse,  say  no.     Cf.  M.  of  V.  iii.  2.  291,  A.  W.  ii.  I. 
90,  Rich.  III.  iii.  I.  35,  etc.     For  beshrew  as  a  mild  imprecation, 
cf.  M.  N.  D.  ii.  2.  54,  v.  i.  295,  M.  of  V.  iii.  2.  14,  etc. 

60.  Heart.     For  the  play  on  the  word,  see  on  i.  i.  16  above. 
Furness  does  not  regard  it  as  a  play  upon  words,  but  believes  it  to 
be  "  an  unconscious  adoption  of  both  significations  of  the  word." 

61.  What  relish   is  in  this?      "How  does  this  taste!      What 
judgment  am  I  to  make  of  it  ?"  (Johnson). 

63.  Lethe.  For  the  allusion  to  the  infernal  river  whose  waters 
caused  forgetfulness,  cf.  Ham.  i.  5.  33,  2  Hen.  IV.  v.  2.  72,  A.  and 
C.  ii.  7.  1 14,  etc. 

SCENE  II.  —  2.  Sir  Topas.  The  title  Sir  was  formerly  applied 
to  priests  and  curates  in  general.  Nares  explains  the  usage  thus : 
"  Dominus,  the  academical  title  of  a  bachelor  of  arts,  was  usually 
rendered  by  Sir  in  English  at  the  universities ;  therefore,  as  most 
clerical  persons  had  taken  that  first  degree,  it  became  usual  to  style 
them  Sir."  Latimer  speaks  of  "  a  Sir  John,  who  hath  better  skill 
in  playing  at  tables,  or  in  keeping  a  garden,  then  in  God's 
word." 

4.  Dissemble.  Disguise.  Singer  quotes  Hutton's  Diet.,  1583: 
"  Dissimulo,  to  dissemble,  to  cloak,  to  hide." 

6.  Tall.  The  word  has  been  variously  explained,  and  sundry 
emendations  have  been  suggested.  It  may  be  =  stout,  robust,  (as 
in  i.  3.  20  above),  or  not  of  sufficiently  commanding  presence. 

8.    To  be  said.    To  be  called. 


Scene  II]  Notes  205 

10.  Competitors.  Confederates,  associates.  Cf.  L.  L.  Z.  ii.  I.  82 : 
"  he  and  his  competitors  in  oath,"  etc. 

13.  Bonos  dies.  Clarke  says,  "  Spanish,  good-day."  I  should 
have  taken  it  to  be  Latin. 

The  old  hermit  of  Prague.  "Not  the  celebrated  heresiarch, 
Jerome  of  Prague,  but  another  of  that  name,  born  likewise  at 
Prague,  and  called  the  hermit  of  Camaldoli  in  Tuscany  "  (Douce). 
But,  as  Wright  remarks,  "this  is  treating  the  Clown's  nonsense 
too  seriously." 

15.  King  Gorboduc.     An  old  British  king. 

16.  For  what  is  that,  etc.     "A  playful  satire  on  the  pedantry  of 
logic  in  the  schools"  (Clarke). 

34.    Modest.     See  on  i.  3.  9  above. 

38.  Bay-windows.     The  English  editors  explain  that  this  is  "  the 
name  for  what  are  now  called  bow-windows."    I  hardly  need  say 
that  in  this  country  bay-window  is  the  term  in  use.     Cf.  B.  J., 
Cynthia's  Revels  :  "  retired  myself  into  a  bay-window  ";  Middleton, 
Women  beware  Women  :  — 

"  *T  is  a  sweet  recreation  for  a  gentlewoman 
To  stand  in  a  bay-window,  and  see  gallants,"  etc. 

Boswell  says :  "  Johnson  admits  only  bay-window  into  his  Diction- 
ary, and  consequently  considers  bow-window  as  a  vulgar  corrup- 
tion." 

39.  Clear-stores.     The  first  folio  has  "  cleere  stores,"  the  later 
ones  "cleare  stones"  or  "clear  stones."     If  the  former  is  what  S. 
wrote,  it  is  doubtless  equivalent  to  the  Gothic  clerestory ;   if  the 
latter,  "clear  stones,"  or  transparent  stones,   is  nonsense  of  the 
same  sort  as  transparent  as  barricadoes.     That  some  of  the  editors 
should  complain  of  both  readings  as  "  unintelligible  "  is  almost  as 
good  a  joke  as  any  of  the  Clown's. 

46.    The  Egyptians  in  their  fog.     See  Exodus,  x.  21. 
50.    Constant.     Consistent,  logical.     Cf.  constancy  =  consistency, 
in  M.  N.  D.\.  i.  26,  etc. 


206  Notes  [Act  iv 

52.  Pythagoras.  For  other  allusions  to  his  doctrine  of  metemp- 
sychosis, see  M.  of  V.  iv.  2.  54  fol.  and  A.  Y.  L.  iii.  2.  187. 

55.  Happily.  Most  editors  adopt  CapelPs  "  haply  "  ;  but  hap- 
pily often  occurs  with  this  sense. 

61.    Woodcock.     See  on  ii.  5.  88  above. 

66.  For  all  waters.  That  is,  fit  for  anything,  like  a  fish  that  can 
swim  equally  well  in  all  waters  (Malone). 

74.  Upshot.  Conclusion,  final  issue  ;  in  archery  the  final  shot 
that  decided  the  match.  Cf.  Ham.  v.  2.  395  ;  the  only  other 
instance  of  the  word  in  S. 

76.  Hey  Robin,  etc.  This  old  ballad  may  be  found  in  Percy's 
Reliques. 

79.  Perdy.  A  corruption  of  par  Dieu.  Cf.  Ham.  iii.  2.  305, 
Lear,  ii.  4,  86,  etc. 

90.  Besides.  Often  used  *as  a  preposition.  Cf.  Sonn.  23.  2 : 
"  besides  his  part "  ;  C.  of  E.  iii.  2.  78 :  "  besides  myself,"  etc. 
For  Jive  wits,  cf.  Much  Ado,  v.  I.  66 :  "  four  of  his  five  wits  ";  Lear, 
iii.  4.  59 :  "  Bless  thy  five  wits !  "  etc.  The  term  seems  to  have 
been  first  suggested  by  the  five  senses,  but  the  senses  and  the 
wits  were  regarded  as  distinct.  See  Sonn.  141.9:  "my  five  wits 
nor  my  five  senses,"  etc. 

96.  Propertied.  Made  a  property  of,  taken  possession  of  (as  a 
thing  having  no  will  of  its  own).  Cf.  K.  John,  v.  2.  79  :  — 

"  I  am  too  high-born  to  be  propertied, 
To  be  a  secondary  at  control,"  etc. 

100.  Malvolio,  etc.     Staunton  inserts  "  \_As  Sir  Topas~\  "  here  ; 
but  it  is  sufficiently  evident  that  the  Clown  is  playing  a  double  part, 
and  carrying  on  a  colloquy  with  the  imaginary  parson. 

101.  Endeavour  thyself.     Halliwell-Phillipps  cites  Latimer,  Ser- 
mons :  "The  devil,  with  no  less  diligence,  endeavoureth  himself  to 
let  [see  on  v.  I.  251  below]  and  stop  our  prayers";  and  Holinshed, 
Chronicles :  "  IJe  endevored  himself  to  answer  the  expectation  of 
his  people, " 


Scene  III]  Notes  2OJ 

102.  Bibble  babble.  Idle  talk.  Fluellen  (Hen.  V.  iv.  I.  71)  calls 
it  "pibble  pabble."  Cf.  Florio,  Second Frutes,  1591 :  "cast  idlenes, 
slouthfulnes,  and  thy  bible  bable  aside";  and  Heyvvood,  Spider 
and  File,  1566:  "  all  confused  so  in  such  bibble  babble." 

106.  /  will,  sir,  I  will.  "  Spoken  after  a  pause,  as  if,  in  the 
mean  time,  Sir  Topas  had  whispered"  (Johnson). 

109.  Shent.  Chidden,  reproved,  or  "  snubbed."  Cf.  M.  IV.  i.  4. 
38:  "we  shall  all  be  shent."  See  also  Cor.  v.  2.  104,  Ham.  iii.  2. 
416,  etc. 

113.  W ell- a-day  that,  etc.  Ah  that,  alas  that,  etc.  Cf.  R.  and 
J.  iv.  5.  15 :  "O,  well-a-day,  that  ever  I  was  born!  "  In  Per.  iv. 
4.  49 :  "  His  daughter's  woe  and  heavy  well-a-day "  ( =  grief, 
sorrow). 

1 1 6.  Advantage.  For  the  verb,  cf.  Temp.  i.  I.  34:  "for  our 
own  doth  little  advantage."  See  also  Hen.  V.  iv.  i.  20 1,/.  C.  iii. 
i.  242,  etc. 

118.  Are  you  not  mad  indeed?  or  do  you,  etc.  "  You  are  mad, 
are  you  not  ?  "  etc.  Johnson  omitted  not,  and  other  changes  have 
been  suggested,  but  none  is  necessary. 

130.  Vice.  The  fool  of  the  old  moralities,  doubtless  so  called 
from  the  vicious  qualities  attributed  to  him.  He  often  carried  a 
dagger  of  lath,  with  which  he  used  to  belabour  the  devil  and  some- 
times attempted  to  pare  his  long  nails.  Cf.  Hen.  V.  iv.  4.  76 : 
"  Bardolph  and  Nym  had  ten  times  more  valour  than  this  roaring 
devil  i'  the  old  play,  that  every  one  may  pare  his  nails  with  a 
wooden  dagger."  See  also  2  Hen.  IV.  iii.  2.  343,  Ham.  iii.  I.  98, 
etc. 

137.  Goodman  devil.  Goodman  was  a  familiar  appellation,  and 
sometimes  used  contemptuously;  as  in  the  "goodman  boy"  of  R. 
andj.  i.  5.  79  and  Lear,  ii.  2.  48. 

SCENE  III.  —  3.  Wonder  that  enwraps  me.  Cf.  Much  Ado, 
iv.  I.  146:  "I  am  so  attir'd  in  wonder,"  etc. 

6.    Was.     That  is,  had  been.      Credit  —  belief  or  opinion. 


208  Notes  [Act  iv 

8.  Golden.    Valuable,  excellent ;  as  in  Macb.  i.  7.  33 :  "  golden 
opinions,"  etc.    Cf.  v.  I.  385:  "golden  time." 

9.  Disputes.     Reasons,  argues;  as^in  R.  and J.  iii.  3.  63:  "Let 
me  dispute  with  thee,"  etc. 

1 2.  Instance.  Example,  precedent.  For  discourse  =  reasoning, 
cf.  Ham.  iv.  4.  36:  "such  large  discourse,  looking  before  and 
after."  Singer  quotes  from  Granville  :  "  The  act  of  the  mind  which 
connects  propositions,  and  deduceth  conclusions  from  them,  the 
schools  call  discourse,  and  we  shall  not  miscall  it  if  we  name  it 
reason" 

14.  Wrangle.  Quarrel  or  dispute.  Cf.  Temp.v.  I.  174,  M.  W. 
ii.  i.  88,  etc. 

1 8.  Take  and  give  back,  etc.  Take  affairs  in  hand  and  see  to 
their  dispatch.  The  construction  (a  favourite  with  S.)  is  like  that 
in  Macb.  iii.  2.  164:  — 

41  Speak  then  to  me,  who  neither  beg  nor  fear 
Your  favours  nor  your  hate." 

21.  Deceivable.  Deceptive,  delusive ;  as  in  the  only  other  ex- 
ample of  the  word  in  S.  See  Rich.  II.  ii.  3.  84 :  "  whose  duty  is 
deceivable  and  false."  See  also  on  i.  5.  230  and  ii.  I.  27  above. 

24.  Chantry.  A  chapel  endowed  for  the  purpose  of  chanting 
masses  for  the  souls  of  the  dead.  Cf.  Hen  V.  iv.  I.  318:  — 

"  and  I  have  built 

Two  chantries,  where  the  sad  and  solemn  priests 
Sing  still  for  Richard's  soul." 

By  =  hard  by,  or  near  ;  as  in  L.  L.  L.  v.  2.  94 :  "  into  a  neigh- 
bour thicket  by,"  etc. 

26.  Plight  me,  etc.    This  was  not  an  actual  marriage,  but  a  be- 
trothing, or  formal  promise  of  future  marriage.     It  was  anciently 
known  by  the  name  of  espousals,  which  subsequently  came  to  be 
applied  to  the  marriage  proper,  or  what  is  here  called  the  celebra- 
tion.    See  on  v.  i.  263  below. 

27.  Jealous.     Anxious,  doubtful.     Cf.  Hen.  V.  iv.  I.  302:  — 


Scene  IJ  Notes  209 

"  My  lord,  your  nobles,  jealous  of  your  absence, 
Seek  through  your  camp  to  find  you." 

29.  Whiles.     Until.     Cf.  the  use  of  while  in  Rich.  II.  i.  3.  122, 
Macb.  iii.  I.  44,  etc.     Come  to  note  =  become  known.     Cf.  W.  T. 
i.  i.  40:  "a  gentleman  of  the  greatest  promise  that  ever  came  into 
my  note,"  etc. 

30.  What  time.     At  which  time,  when  ;   a  poetical  idiom.     Cf. 
Rich.  III.  iv.  4.  490 :   "  Where  and  what  time  your  majesty  shall 
please";   Milton,  Lycidas,  28:  "What  time  the  gray-fly  winds  her 
sultry  horn,"  etc. 

34.  And  heavens  so  shine,  etc.  Steevens  suggests  that  there 
may  be  an  allusion  to  the  proverbial  saying,  "  Happy  is  the  bride 
upon  whom  the  sun  shines."  But,  as  Furness  remarks,  Olivia 
merely  echoes  a  similar  prayer  uttered  by  Friar  Lawrence  in  R.  and 
J.  ii.  6.  i :  — 

"  So  smile  the  heavens  upon  this  holy  act 
That  after  hours  with  sorrow  chide  us  not  I " 


ACT  V 

SCENE  I.  —  7.  To  give  a  dog,  etc.  In  Manningham's  Diary  (see 
p.  9  above)  there  is  a  story  of  Dr.  Bullein,  who  had  a  dog  which 
Queen  Elizabeth  wanted.  .  .  .  She  promised  that  if  he  would 
grant  her  one  desire  he  should  have  whatever  he  would  ask.  She 
then  demanded  his  dog,  which  he  gave  her,  and  then,  claiming  the 
fulfilment  of  her  promise,  asked  that  the  dog  be  given  back  to  him. 

23.  Conclusions  to  be  as  kisses,  etc.  Warburton  thought  this  a 
"  monstrous  absurdity,"  and  conjectured,  "  so  that,  conclusion  to 
be  asked,  is,"  etc.  Farmer  cites  Lust's  Dominion  :  — 

"  Queen.   Come,  let 's  kisse. 
Moor.   Away,  awav. 
Queen.  No,  no,  sayes,  I  [ay]  ;  and  twice  away,  sayes  stay." 

TWELFTH    NIGHT — 14 


210  Notes  [Act  v 

Coleridge  says :  "  Surely  Warburton  could  never  have  wooed  by 
kisses  and  won,  or  he  would  not  have  flounder-flatted  so  just  and 
humorous,  nor  less  pleasing  than  humorous,  an  image  into  so  pro- 
found a  nihility.  In  the  name  of  love  and  wonder,  do  not  four 
kisses  make  a  double  affirmative  ?  The  humour  lies  in  the  whis- 
pered '  No  ! '  and  the  inviting  *  Don't ! '  with  which  the  maiden's 
kisses  are  accompanied,  and  thence  compared  to  negatives,  which 
by  repetition  constitute  an  affirmative." 

31.  Double-dealing.  There  is  a  play  on  the  word,  as  on  double- 
dealer just  below,  and  in  Much  Ado,  v.  4.  116. 

34.  Grace.  Virtue,  as  in  R.  of  L.  712:  "desire  doth  fight  with 
grace";  A.  Y.  L.  i,  3.  56:  "  as  innocent  as  grace  itself,"  etc. 

36.  So  much  a  sinner  to  be.  For  the  omission  of  as,  see  on  ii.  4. 
98  above. 

39.  Triplex.     Triple  time  in  music. 

40.  Saint  Bennet.      This   church   was   probably  St.   Bennet's, 
Paul's  Wharf,   London,  destroyed  in  the  great  fire  of  1666,  but 
rebuilt  by  Wren  and  now  used  as  a  Welsh  church.     There  were 
three  other  churches  by  that  name  in  London,  but  this  one  was 
near   the  Blackfriars  Theatre  in   a  neighbourhood  familiar  to  S. 
Bennet  =  Benedict  (not  "Benedick,"  as  Schmidt  gives  it),  as  in  the 
name  of  "Sir  Bennet  Seely"  in  Rich.  II.  v.  6.  14. 

42.  At  this  throw.  By  this  trick  ;  alluding  to  playing  with  dice 
or  with  bowls.  Cf.  M.  of  V.  ii.  I.  33 :  — 

41  If  Hercules  and  Lichas  play  at  dice 
Which  is  the  better  man,  the  greater  throw 
May  turn  by  fortune  from  the  weaker  hand  ;  " 

and  Cor.  v.  2.  20 :  — 

"  Like  to  a  bowl  upon  a  subtle  ground, 
I  have  tumbled  past  the  throw." 

46.  Lullaby.  Some  take  this  to  be  a  verb,  and  it  is  occasionally 
used  as  such ;  but  here  it  may  be  a  noun  :  "  A  lullaby  to  your 
bounty,"  etc. 


Scene  I]  Notes  211 

55.  Bawbling.     Insignificant,  like  a  bauble.     Cf.    T.  and  C.  i. 
3.  35  :  "  How  many  shallow  bauble  boats  dare  sail,"  etc. 

56.  Unprizable.     Not  to  be  prized,  valueless.    In  the  only  other 
passage  in  which  S.  uses  the  word  {Cymb.  I.  4.99),  it  is  =  invalua- 
ble, inestimable.      Similarly  (as  Furness  notes)   S.  uses  unvalued 
with  opposite  meanings  in  Ham.  i.  3. 19  and  Rich.  III.  i.  4.27. 

57.  Scathful.     Harmful,  destructive.    Cf.  the  noun  scathe  (=  in- 
jury, damage)  in  K.  John,  ii.  i.  75  :  "To  do  offence  and  scathe  in 
Christendom,"  etc.  ;   and  the  verb  in  R.  and  J.  i.  5.  86  :  "  This  trick 
may  chance  to  scathe  you." 

58.  Bottom.     Still  used  in  the  sense  of  vessel.     Cf.  M.  of  V. 
i.   i.  42,  K.  John,  ii.  1.73,  and  Hen.  V.  iii.  chor.   12. 

62.  Fraught.     Freight  (which  is  not  found  in  S.).     Cf.  Oth.  iii. 
3.449  :  "Swell,  bosom,  with  thy  fraught."     We  find  fraughtage  in 
the  same  sense  in   C.  of  E.  iv.  I.  87  and  T.  and  C.  prol.  13.     For 
the  verb  fraught,  see  Temp.  i.  2.  13,  Cymb.  i.   I.  126,  etc.     From 
Candy ;    that  is,  on  her  voyage  from  Candy,  or  Candia. 

63.  Tiger.     Again  used  as  the  name  of  a  ship  in  Macb.  i.  3.  7 : 
"  Her  husband  's  to  Aleppo  gone,  master  o'  the  Tiger." 

65.  Desperate  of  shame  and  state.    Reckless  of  disgrace  and  the 
effect  upon  his  state  or  condition. 

66.  Brabble.     Brawl,  quarrel.     Cf.  T.  A.  ii.  I.  62  :  "This  petty 
brabble  will   undo    us   all."      The  word  becomes  prabble  in  the 
Welsh  dialect  of  Evans  (M.   W.  i.  I.  56,  iv.  I.  52,  v.  5.  169)  and 
Fluellen  {Hen.  V.  iv.  8.  69).      We  have  brabbler  =  quarreller  in 
K.  John,  v.  2.   162. 

69.  Distraction.     Madness  ;  as  in  317  below.     The  word  is  here 
a  quadrisyllable,  like  perfection  in  i.  1 .  39  above. 

70.  Notable.     Used  oftener  by  S.  in  a  bad  than  in  a  good  sense. 
Cf.  T.  G.  of  V.  ii.  5.  47  :   "a  notable  lubber  "  ;    Oth.  v.  I.  78  :  " O 
notable  strumpet  !  "  etc. 

71.  Mercies.     The  plural  is  used  because  more  than  one  person 
is  referred  to  ;  as  in  2  Hen.  IV.  v.  5.  130  :  "I  commit  my  body  to 
your  mercies." 


2 1 2  Notes  [Act  v 

72.  Dear.  Heartfelt,  earnest ;  used  of  both  agreeable  and  dis- 
agreeable emotions.  Cf.  Ham.  i.  2.  182  :  "my  dearest  foe,"  etc. 

77.  Witchcraft.     Used  figuratively  ;   as  in  Hen.  VIII.  iii.  2.  18: 
"  he  hath  a  witchcraft  Over  the  king  in  's  tongue,"  etc. 

78.  Ingrateful.     Used  by  S.  oftener  than  ungrateful.     Cf.  ingrate 
in  114  below. 

80.  Wrack.  Wreck ;  the  only  spelling  in  the  early  eds.  It 
rhymes  with  back  in  R.  of  L.  841,  966,  Sonn.  126.  5,  Macb.  v.  5.  51, 
and  with  alack  in  Per.  iv.  prol.  12. 

82.  Retention.  Reserve.     It  is  used  in  a  different  sense  in  ii.  4.  98 
above. 

83.  All  his  in  dedication.     Entirely  dedicated  or  devoted  to  him. 

84.  Pure.     Purely,  merely.     For  the  adverbial  use,  cf.  Ham.  iii. 
4.  158;  "  live  the  purer." 

^5.  Into.  Unto;  as  often.  Cf.  Hen.  V.  i.  2.  102  :  "Look  back 
into  your  mighty  ancestors,"  etc. 

87.  Being  apft  ehended.  That  is,  /  being  apprehended.  Such 
ellipsis  is  common  when  the  pronoun  can  be  easily  supplied. 

89.  To  face  me  out.     Cf.  iv.  2.  98  above  :  "  to  face  me  out  of  my 
wits." 

90.  Twenty-years-removed.    The  hyphens  are  not  in  the  early 
eds. 

100.    Three  months.     See  on  i.  4.  3  above. 

no.  Fat.  Heavy,  dull,  distasteful.  Halliwell-Phillipps  quotes 
Chapman,  Bussy  d^Ambois :  "  'T  is  grosse  and  fulsome." 

1 14.  Unauspicious.    S.  uses  the  word  only  here,  and  inauspicious 
only  in  R.  and J.  v.  3.  ill  :  "inauspicious  stars." 

115.  FaithfuWst.      This  contraction  of   superlatives,  often  very 
harsh,  was  a  fashion  of  the  time. 

119.  The  Egyptian  thief.  An  allusion  to  the  Greek  romance  of 
Theogenes  and  Chariclea,  which  was  translated  into  English  before 
1587.  Thyamis,  a  robber  chief,  having  fallen  in  love  with  Chari- 
clea,  seized  her  and  shut  her  up  in  a  cave  with  the  intent  to  make 
her  his  wife.  Being  overpowered  by  another  band  of  robbers,  he ' 


Scene  I]  Notes 

rushed  to  the  cave,  in  order  to  kill  her,  but  in  the  darkness  slew 
another  person  instead. 

121.  Sometime.    Used  by  S.  interchangeably  with  sometimes,  both 
adverbially  and  adjectively. 

1 22.  Non-regar dance.      Disregard,  contempt ;    used  by  S.  only 
here. 

123.  And  that.     The  that  is  used  instead  of  repeating  the  pre- 
ceding since ;   as  with  other  conjunctions. 

125.  Marble-breasted.     Cf.  marble-hearted  in    Lear,   i.   4.    281. 
Marble-constant  (=  firm  as  marble)  occurs  in  A.  and  C.  v.  2.  240. 

126.  Minion.     Darling,  favourite  (Fr.  mignon}.     In  the  time  of 
S.  it  was  beginning  to  be  used  in  the  sense  of  a  spoiled  favourite, 
hence  of  a  pert  and  saucy  person,  and  even  more  contemptuously. 

127.  Tender.     Cherish,  regard  ;   as  often. 

132.  A  raven's  heart,  etc.     Cf.  R.  and  J.  iii.  2.  76:  "Dove- 
feather'd  raven  !  "  and  2  Hen.  VI.  iii.  I.  76  :  — 

"  Seems  he  a  dove  ?     His  feathers  are  but  borrow'd, 
For  he  's  disposed  as  the  hateful  raven." 

133.  Most  jocund,  apt,  and  willingly.      For  the  ellipsis  of   the 
adverbial  ending,  cf.  J.  C.  ii.  I.  224  :  "look  fresh  and  merrily,"  etc. 

134.  To  do  you  rest.     Cf.  R.  and  J.  i.  5.  72  :    "do  him  dispar- 
agement," etc. 

139.    Tainting.     Disgracing,  exposing  to  shame.     Cf.  I  Hen.  VI. 
iv.  5.  46  :  "  My  age  was  never  tainted  with  such  shame,"  etc. 

148.  Strangle   thy  propriety.     Deny  thy  identity.     Cf.    Oth.  ii. 

3.  176:  — 

"Silence  that  dreadful  bell  ;  it  frights  the  isle 
From  her  propriety  " 

(that  is,  out  of  herself). 

149.  Take   thy  fortunes   up.     That  is,  accept  or   acknowledge 
them. 

156.   Newly.     Lately,  just  now;    as  very  often.     See  M.  W.  iv. 

4.  52,  T.  of  S.  ii.  i.  174,  iv.  2.  86,^.  and  J.  iii.  I.  176,  v.  3.  175,  etc. 


214  Notes  [Act  v 

157.  A  contract,  etc.     The  betrothal  referred  to  in  the  note  on 
iv.  3.  26  above.     It  was  a  legal  ceremony,  consisting  in  the  inter- 
change of  rings,  kissing,  and  joining  hands,  in  the  presence  of  wit- 
nesses, and  often  before  a  priest.     Violation  of  the  contract  was 
punished  by  the  Ecclesiastical  Law  with  excommunication  ;   and  it 
was  not  until  the  time  of  George  II.  that  this  penalty  was  abolished 
in  England.     The  betrothal  was  a  legal  bar  to  marriage  with  an- 
other person.     Henry  VIII.  took  advantage   of  this  in  divorcing 
Anne  Boleyn.     Before  her  execution  he  obtained  a  decision  from 
the  Ecclesiastical  Court  that  the  marriage  was  void,  on  the  ground 
of  her  alleged  pre-contract  with  Northumberland.     In  Scotland  to 
this  day  the  betrothal  is  a  legal  contract,  the  fulfilment  of  which 
can  be  enforced.     This  ancient  betrothal  is  introduced  by  S.  in  at 
least  seven  of   his  plays  —  T.   G.  of  F.,  T.  of  S.,  K.  John,  Much 
Ado,  M.for  M.,  W.  T.  (twice),  and  T.  N.     It  will  be  noticed  that 
Olivia  addresses  Sebastian  as  "husband"  in  144  above.     Similarly, 
Robert  Arden,  the  poet's  maternal  grandfather,  in  a  legal  docu- 
ment, calls  his  daughter  Agnes   the  wife  \uxor)  of  the  man  to 
whom  she  was  married  three   months  later.     Of  course  she  had 
been  betrothed  before  the  document  was  written.     Other  instances 
of  the   kind  are   mentioned  by  Halliwell-Phillipps,  who  believed 
that  S.  and  Anne    Hathaway  had  been  thus  formally  betrothed 
several  months  before  their  hurried  marriage. 

158.  Joinder.     Joining  ;   used  by  S.  only  here.     We  find  rejoin- 
dure  in  T.  and  C.  iv.  4.  38. 

1 60.  Inter changement  of  your  rings.     As  already  stated,  rings 
were  usually  exchanged   in   the   betrothal,  but   there   is  no  clear 
evidence  that  this  was  done  in  the  marriage  ceremony,  as  Stee- 
vens  asserts. 

161.  Compact.     Accented  on   the   last  syllable  by  S.  except  in 
I  Hen.  VI.  v.  4.  163,  which  is  probably  not  his. 

162.  In  my  function.     In  the  discharge  of  my  official  duty. 

163.  Watch.     See  on  ii.  5.  62  above. 

1 66.    Case.     Integument,  skin.     Cf.  A.  and  C.  iv.  15.  89  :  "The 


Scene  I]  Notes  215 

case  of  that  huge  spirit  now  is  cold."  Malone  quotes  Gary,  Present 
State  of  England,  1626  :  "Queen  Elizabeth  asked  a  knight  named 
Young  how  he  liked  a  company  of  brave  ladies?  He  answered,  as 
I  like  my  silver-haired  conies  at  home  :  the  cases  are  far  better 
than  the  bodies."  Halliwell-Phillipps  cites  Bussy  d1  Ambois  :  "  the 
asse,  stalking  in  the  lion's  case." 

1 68.  That  thine  own  trip,  etc.  That  you  will  trip  yourself  up, 
be  caught  in  your  own  snare. 

172.   Little.     A  little,  at  least  some.     Cf.  2  Hen.  IV.  iii.  I.  43  :  — 

"  It  is  but  as  a  body  yet  distemper'd, 
Which  to  his  former  strength  may  be  restor'd 
With  good  advice  and  little  medicine." 

Elsewhere  S.  uses  a  little  in  this  sense,  and  little  negatively  (  =  not 
much,  scarce  any),  as  we  do  now. 

176.  Broke  my  head.     This  expression,  in  the  time  of  S.,  did 
not  mean  a  fractured  skull,  but  as  Schmidt  properly  defines  it,  "  to 
crack  the  skin  of  the  head  so  that  the  blood  comes."     Cf.  M.  IV.  i. 
i.  125,  etc.     Similarly,  "a  broken  shin"  (Z,.  Z.  L.  iii.  I.  74  and 
R.  and  J.  i.  2.  53)  means  one  that  is  bruised  and  bloody ;    but 
Ulrici  misunderstood  it  in  these  passages,  assuming  that  the  sug- 
gestion of  a  "plantain  leaf"  as  a  remedy  for  the  damaged    shin 
was  merely  "  ironical."    He  says  that  "  the  English  commentators  " 
are  obviously  wrong  in  "  considering  plantain  a  good  remedy  for  a 
broken  bone." 

177.  Coxcomb.     Used  jokingly  for  the  head  ;   as  in  Hen.  V.  v.  i. 
45,  57,  Lear,  ii.  4.  125,  etc. 

1 78.  /  had  rather  than  forty  pound.     Cf.  ii.  3.  20  above.     For 
the  plural  pound,  cf.  Much  Ado,  i.  i.  90,  iii.  5.  27,  etc. 

183.  Incardinate.  Rowe  takes  pains  to  correct  this  into 
"  incarnate." 

185.  'Od's  lifelings.  One  of  the  many  corruptions  of  God  in 

oaths,  Cf.  M.  W.  iii.  4.  59  :  "  'Od's  heartlings !  "  A.  Y.  L.  iii.  5. 


2 1 6  Notes  [Act  v 

43 :  "  'Od's  my  little  life !  "  Cymb.  iv.  3.  293 :  "  'Od's  pittikins !  " 
etc.  See  also  on  ii.  5.  34  above. 

190.  Bespake  you  fair.  Spoke  kindly  to  you.  Cf.  Rich.  II.  v. 
2.20:  "  Bespake  them  thus";  C.  of  E.  iv.  2.  15:  "Didst  speak 
him  fair  ?  "  Id.  iv.  4.  157 :  "  they  speak  us  fair,"  etc. 

196.  Othergates.  Otherwise,  in  another  manner;  the  only  in- 
stance of  the  word  in  S.  Anothergates  was  more  common. 
Halliwell-Phillipps  quotes  Lyly,  Mother  Bombie :  "  anothergates 
marriage  " ;  and  Hudibras  :  — 

"  When  Hudibras  about  to  enter 
Upon  anothergates  adventure,"  etc. 

201.  Agone.     Ago  ;  used  by  S.  only  here  and  in  T.  G.  of  V.  iii. 
I.  85  :  "  long  agone." 

202.  His  eyes  were  set,  etc.     Cf.  Temp.  iii.  2.  9 :    "  Drink,  ser- 
vant-monster, when  I  bid  thee  ;  thy  eyes  are  almost   set   in   thy 
head." 

203.  A  passy- measures  pavin.     The  1st  folio  has  "  a  passy  meas- 
ures panyn  "  ;  the  later  folios  read  "  Rogue  after  a  passy  measures 
Pavin."     Singer  and  others  adopt  the  reading  in  the  text.     Passy- 
measure  is  a  corruption  of  the  Italian  passamezzo,  which  is  defined 
by  Florio,   1598,  as  "a  passa-measure  in  dancing,  a  cinque  pace." 
Steevens  cites  many  references  to  ihe  pavin  ;  as  in  Beaumont  and 
Fletcher,  Mad  Lover:  "I  '11  pipe  him  such  a  pavan";    Gosson, 
School  of  Abuse,  1579:  "Dumps,  pavins,  galliards,  measures,"  etc. 
Ben  Jonson,  in    The  Alchemist,  calls  it   a  Spanish  dance.     Sir  J. 
Hawkins  says  that  it  was  "a   grave  and  majestick   dance."     He 
adds   that    every  pavin  had  its  galliard  (see  i.  3.  125  above),  a 
lighter  kind  of  air  derived  from  the  former.     Cf.  Middleton,  More 
Dissemblers,  etc. :  — 

"  I  can  dance  nothing  but  ill  favour'dly, 
A  strain  or  two  of  passe  measures  galliard." 

Malone  says  that  Sir  Toby  means  only  that  the  surgeon  is  a  rogue 
and  a  grave,  solemn  coxcomb.  In  the  first  act  of  the  play  he  has 


Scene  I]  Notes  2 1 7 

shown  himself  well  acquainted  with  the  various  kinds  of  dance. 
Shakespeare's  characters  are  always  consistent,  and  even  in  drunk- 
enness preserve  the  traits  of  character  which  distinguished  them 
when  sober. 

208.  Will  you  help  ?  etc.  The  folio  reads,  "  Will  you  helpe  an 
Assehead,  and  a  coxcombe,  &  a  knaue:-  a  thin  fac'd  knaue,  a 
gull?"  Toby  applies  the  epithets  to  Andrew,  not  to  the  surgeon 
or  to  Sebastian,  as  Malone  supposed.  For  gull,  see  on  iii.  2.  63 
above. 

213.  Wit  and  safety.     A  wise  regard  for  safety.     For  wit  = 
wisdom,  cf.  Oth.  ii.  I.  130:  — 

"  If  she  be  fair  and  wise,  fairness  and  wit, 
The  one  's  for  use,  the  other  useth  it." 

214.  A  strange  regard.     An  estranged  or  distant  look.     Cf.  ii. 
5.  181  and  iv.  I.  16  above. 

219.  Perspective.  The  name  was  applied  to  various  optical  de- 
vices for  assisting  the  sight  or  producing  illusions.  Toilet  quotes 
from  Humane  Industry,  1661,  the  following  description  of  one  of 
these  contrivances :  "  It  is  a  pretty  art  that  in  a  pleated  paper  and 
table  furrowed  or  indented,  men  make  one  picture  to  represent 
several  faces  —  that  being  viewed  from  one  place  or  standing,  did 
shew  the  head  of  a  Spaniard,  and  from  another  the  head  of  an  ass. 
...  A  picture  of  a  chancellor  of  France  presented  to  the  com- 
mon beholder'a  multitude  of  little  faces;  but  if  one  did  look  on  it 
through  a  perspective,  there  appeared  only  the  single  pourtraicture 
of  the  chancellor  himself.  Thus  that,  which  is,  is  not,  or  in  a 
different  position  appears  like  another  thing."  Cf.  Hen.  V.  v.  2. 
347 :  "  Yes,  my  lord,  you  see  them  perspectively,  the  cities  turned 
into  a  maid."  Perspective  is  always  accented  on  the  first  syllable. 

222.  Since  I  have  lost  thee  !  "The  warmth  of  Sebastian's  words 
here  to  Antonio  comes  with  delightful  effect  as  a  response  to  the 
sea-captain's  affectionate  expressions  heretofore,  and  as  a  comfort 
for  his  past  distress  of  mind  "  (Clarke). 


2 1 8  Notes  [Act  v 

229.  Nor  can  there  be,  etc.  That  is,  I  have  not  the  divine  power 
of  ubiquity. 

231.  Blind.     That  is,  to  "the  loveliness  they  were  destroying" 
(Furness). 

232.  Of  charity.     Out  of  charity,  for  the  sake  of  charity  ;  as  of  is 
often  used  in  adjurations. 

234.   Messaline.     See  on  ii.  I.  18  above. 

236.  Suited.  Dressed.  Cf.  A.  Y.  L.  i.  3.  118:  "That  I  did  suit 
me  all  points  like  a  man,"  etc.  So  suit  in  next  line  =  dress. 

239.  Dimension.     Bodily  shape.     See  on  i.  5.  271  above. 

240.  Participate.     Possess  as  part  of  my  nature.      S.  uses  the 
verb  only  here.  ^ 

241.  Goes  even.     Agrees,  coincides.     Cf.  Cymb.  i.  4.  47:  "to  go 
even  with  what  I  heard,"  etc. 

248.  Record.  Remembrance;  as  in  T.andC.\.  3.  14,  etc.  S. 
puts  the  accent  on  either  syllable,  as  suits  the  measure. 

251.  Lets.  Hinders.  Cf.  Ham.  i.  4.  85.:  "  I'll  make  a  ghost  of 
him  that  lets  me,"  etc.  See  also  Exodus,  v.  5,  Isaiah,  xliii.  13, 
Romans,  i.  13,  etc. 

254.  Jump.  Agree,  tally;  as  in  T.  of  S.  i.  I.  195:  "Both  our 
inventions  meet  and  jump  in  one,"  etc.  On  cohere,  cf.  adhere,  iii. 
4.  74  above. 

257.  Where.  That  is,  at  whose  house  or  lodgings.  Where,  as 
Schmidt  notes,  is  often  used  loosely  for  "  in  which,  in  which  case, 
on  which  occasion,  and  sometimes  almost  =  when*."  Weeds  — 
clothes,  garments;  as  in  275  below. 

262.  Bias.     Natural  tendency.     The   metaphor   is   taken   from 
the  game  of  bowls,  the  bias  being  a  weight  in  one  side  of  the  bowl, 
affecting  its  motion.      It  is  a  common  figure  in  S.     Cf.  L.  L.  L. 
iv.  2.  113,  K.  John,  ii.  I.  574,  Lear,  i.  2.  120  ("bias  of  nature"), 
Ham.  ii.  I.  65,  etc. 

263.  Contracted.    This  word,  like  the  betrothed  in  255,  confirms 
the  explanation  given  in  the  note  on  iv.  3.  26  above.     Contract,  is 
often  used  by  S.  with  reference  to  the  ceremony  of  betrothal  (as  in 


Scene  I]  Notes  219 

W.  T.  iv.  4.  401,  v.  3.  5,  M.for  M.  v.  I.  380,  Lear,  v.  3.  228,  etc.), 
but  never  to  that  of  marriage. 

266.  Right  noble,  etc.     "  Not  only  is  there   the  pleasant  effect 
produced  in  these  few  words  of  Orsino's  coming  forward  to  avouch 
the  nobility  of  his  old  friend's  son  and  daughter,  but  they  serve  the 
dramatic  purpose  of  attesting  the  gentle  birth  of  the  youth  who  is 
chosen  by  a  countess  for  a  husband,  and  of  the  maiden  who  is 
about  to  be  taken  by  the  duke  for  a  wife"  (Clarke). 

267.  As  yet  the  glass,  etc.     As  yet  —  still ;    as  in  L.  C.  75 ;   "I 
might  as  yet  have  been  a  spreading  flower,"  etc.     The  glass  seems 
to  refer  to  the  perspective  of  219  above. 

271.  Over-swear.  Swear  over  again.  Cf.  swear  over-=.  swear 
down,  in  W.  T.  i.  2.  424. 

273.  That  orbed  continent.  The  sun.  Cf.  Ham.  iii.  2.  166: 
"  Tellus'  orbed  ground."  Continent  =  that  which  contains  (as  in 
M.  N.  D.  ii.  I.  92,  Lear,  iii.  2.  58,  etc.),  here  applied  to  the  sun  as 
the  seat  and  source  of  light.  Keeps  is  understood  after  continent. 

278.  At  Malvolio's  suit.  There  is  no  hint  of  this  elsewhere  in 
the  play  (cf.  note  on  ii.  i.  17),  and  it  may  be  inserted  merely  to 
give  occasion  for  referring  to  Malvolio  at  this  point.  In  256  just 
above,  Viola  implies  that  there  is  nothing  to  prevent  her  taking 
Sebastian  at  once  to  the  captain. 

280.  Enlarge.     Release,  set  at  liberty ;  as  in  Hen.  V.  ii.  2.  40, 
57,  etc. 

281.  Remember  me.     For  the  reflexive  use,  cf.  I  Hen.  IV.  ii.  4. 
68 :  "  and  now,  I  remember  me,  his  name  is  Falstaff,"  etc. 

282.  Distract.     For  the  form  of  the  participle,  cf.  J.   C.  iv.  3. 
155  :  "  she  fell  distract"  ;  Ham.  iv.  5.  2  :  "  She  is  importunate,  in- 
deed distract,"  etc. 

283.  Extracting.     "Drawing  other   thoughts  from   my  mind" 
(Schmidt).     The  later  folios  have  "  exacting"  (which  may  be  what 
S.  wrote),  and  Hanmer  substituted  "  distracting."    Clarke  remarks ; 
"  There  is  a  playful  and  bewitching  effect  in  Olivia's  change  of  the 
first  syllable  of  the  slightly  varying  word,  with,  mayhap,  a  half- 


lie  Notes  [Act  v 

smiling,  half-tender  emphasis  in  her  tone,  and  a  momentary  glance 
towards  her  new-trothed  husband,  as  she  utters  the  significant  con- 
clusion." 

286.  At  the  stave's  end.  Cf.  Withals,  Diet.  :  "  To  hold  off,  keepe 
aloofe,  as  they  say,  at  the  stave's  ende."  Behebub  is  an  old  spelling. 

288.  He  has.  The  folio  has  simply  "has"  (as  in  198  above), 
which  may  be  right,  such  ellipsis  of  the  pronoun  being  common. 

290.  Skills.  Matters,  signifies.  Cf.  T.  of  S.  iii.  2.  134:  "It 
skills  not  much,"  etc. 

299.  Vox*  Voice  ;  that  is,  loud  voice,  which  he  thinks  in  keep- 
ing with  a  madman's  letter. 

302.  Perpend.  Consider,  look  to  it ;  a  word  used  only  by 
Pistol,  Polonius,  and  the  Clowns  (Schmidt).  Cf.  M.  W.  ii.  I.  119, 
A.  Y.  L.  iii.  2.  69,  etc. 

307.  Cousin.  Changed  by  Rowe  to  "  uncle " ;  but  cf.  i.  3.  5 
above,  where  it  is  used  in  close  connection  with  Toby's  "  niece," 
which  is  the  only  ground  for  considering  Toby  to  be  Olivia's 
uncle.  But  cousin  was  used  very  loosely  by  S.,  being  applied 
to  nephew,  niece,  brother-in-law,  and  grandchild,  and  also  as  a 
mere  complimentary  form  of  address  between  princes,  etc. 

312.  My  duty.  "An  allusion  to  the  subscription  of  duty  at  the 
end  of  letters  to  a  superior"  (Deighton). 

318.     Delivered.     Released,  set  free  ;   as  in  iv.  2.  72  above. 

320.  A  sister.     "The  manner  in  which  Olivia  is  made  to  take 
cognizance  of  her  mistaken  Cesario  is  both  proper  and  delicate ; 
intimating  that  she  would  have  more  than  a  sister's  love  for  her 
from  remembrance  of  what  had  passed"  (Clarke). 

321.  Alliance  on  V.     In  on  V,  the  on  =  of,  and  the  it  is  used  in 
an  indefinite  way,  referring  to  the  idea  implied  in  what  precedes. 
Cf.  2  Hen.  IV.  iii.  2.  270:  "grow  till  you  come  unto  it"  ;   A.  and 
C.  iii.   13.  176:    "There's  hope  in 't  yet"  (cf.  192   just  below), 
etc. 

322.  Proper.   Own,  personal ;    as  often.     Cf.    Temp.  iii.  3.  60  : 
"  their  proper  selves,"  ,etc. 


Scene  I]  Notes 

323.  Apt.     Ready;   as  in  133  above.     Cf.  Z.  L.  L.  iv.  3.  114: 

"  Youth  so  apt  to  pluck  a  sweet,"  etc. 

324.  Quits.     Releases.     It  is  often  =  acquit,  absolve ;   as  in  A. 
Y.  L.  iii.  I.  n,  Hen.  V.  ii.  2.  166,  etc. 

325.  Mettle.     Disposition.     See  on  ii.  5.  15  above. 

332.  Notorious.  Notable,  egregious.  Cf.  notoriously  in  366 
below. 

335.   From  it.     See  on  i.  5.  195  above. 

342.   Lighter.     "Of  less  dignity  or  importance"  (Johnson). 

346.   Geek.    Dupe  ;  used  by  S.  only  here  and  in  Cymb.  v.  4.  67 :  — 

"And  to  become  the  geek  and  scorn 
O*  th'  other's  villany." 

351.  1  do  bethink  me.     I  recollect ;   as  in  M.  N.  D.  iv.  I.  155, 
Oth.  v.  2.  25,  etc. 

352.  Then.    Changed  by  some   editors  to  "  thou "  ;    but  the 
ellipsis  is  a  common  one. 

353.  Such  .  .  .  which.     Cf.  W.  T.  i.  I.  26:  "  Such  an  affection 
which,"  etc.     Pres^lppos>d  upon  thee  =  "  previously  pointed  out  for 
thy  imitation,  or  such   as  it  was  supposed  thou  wouldst  assume 
after  reading  the  letter"  (Steevens). 

355.  Practice.  Trick,  or  plot  ;  as  often.  Shrewdly  —  sharply, 
keenly;  as  in  Ham.  i.  4.  i:  "The  air  bites  shrewdly,"  etc.  For 
pass  upon,  cf.  iii.  I.  44  above. 

364.  Upon.     In  consequence  of.     Cf.   Much  Ado,  iv.   I.   225 : 
"she  died  upon  his  words"  ;   Id.  v.  I.  258:  "And  fled  he  is  upon 
this  villany,"  etc. 

365.  Against.     "  In  opposition  or  repugnance  to"  (Schmidt). 

366.  Importance.     Importunity ;    as  in  K.  John,  ii.  1.7:   "  At 
our  importance  hither  is  he  come."     So  important  =  importunate, 
in  Much  Ado,  ii.  i.  74,  Lear,  iv.  4.  26,  etc.     Daniel  remarks  here: 
"Now  Maria  writ  the  letter  at  the  'importance  'of  her  own  love  of 
mischief;  the  plot  originated  entirely  with  her,  though  Sir  Toby 
and  the  rest  eagerly  joined  in  it." 


222  Notes  [Act  v 

369.  Pluck  on.     Excite.     Cf.  M.  for  M.  ii.  4.  147  :  "To  pluck  on 
others"  ;  Rich.  III.  iv.  2.  65  :  "sin  will  pluck  on  sin."     Pluck  is  a 
favourite  word  with  S. 

370.  If  that.     See  on  i.  2.  48  above. 

372.  Poor  fool.  For  the  use  of  fool  as  a  term  of  endearment  or 
pity,  cf.  Much  Ado,  ii.  I.  326,  Lear,  v.  3.  305,  etc.  Baffled  =  treated 
contemptuously  ;  as  in  Rich.  II.  i.  I.  170,  etc. 

374.  Thrown.  Theobald  changed  this  to  "  thrust,"  the  word  in 
the  letter,  ii.  5.  157  above  ;  but  the  variation  may  have  been  pur- 
posely introduced  by  the  poet,  "  possibly  from  his  knowing,  by  pro- 
fessional experience,  the  difficulty  of  quoting  with  perfect  accuracy  " 
(Staunton).  It  is  more  probable,  however,  that  it  was  due  to 
the  carelessness  in  these  little  matters  of  which  we  find  so  many 
illustrations  in  the  plays.  Wright  refers  to  an  instance  in  A.  IV. 
(v.  3.  13)  where  in  reading  a  letter  the  original  (as  given  in  iii. 
2.  21  fol.)  is  materially  varied  from.  See  also  on  ii.  5.  92  above ; 
and  cf.  notes  on  i.  4.  3  and  ii.  5.  212. 

379.  Whirligig.  Properly  a  top;  like  £7^  in  L.  L.  L.  iv.  3.  167 
and  v.  I.  70. 

384.  He  hath  not  told  us,  etc.    "  In  this  line  and  the  preceding 
we  have  true  Shakespearian  touches.     First,  we  have  the  Duke, 
with  his  gentle  nature  and  his  new  joy,  eager  to  have  the  injured 
though  crabbed  purist  brought  back  and  soothed  into  partaking  of 
the  general  harmony;   and  then  we  have  the  indication  of  Orsino's 
naturally  keen  interest  respecting  the  Captain  who  had  saved  Viola, 
while  it  also  serves  the  dramatic  purpose  of  showing  that  the  prom- 
ise of  interrogating  the  Captain  in  reference  to  Malvolio^s  suit  has 
not  been  lost  sight  of,  although  the  interest  of  the  play's  last  scene 
does  not  require  that  point  to  be  further  pursued"  (Clarke). 

385.  Convents.     Is  convenient,  suits  ;   or,  possibly,  as  others  ex- 
plain it  =  invites.     Elsewhere  (in  M.  for  M.  v.  i.  158,  Hen.  VIII. 
v.  i.  52,  and  Cor.  ii.  2.  58)  it  is  =  calls  together,  summons. 

391.   Fancy's.     Love's.     Cf.  i.  I.  14  and  ii.  4.  33  above. 

393.    When  that,  etc.    Sta.unton  remarks ;  "  It  is  to  be  regretted, 


Scene  I]  Notes  22J 

perhaps,  that  this  '  nonsensical  ditty,'  as  Steevens  terms  it,  has  not 
long  since  been  degraded  to  the  foot-notes.  It  was  evidently  one 
of  those  jigs  with  which  it  was  the  rude  custom  of  the  Clown  to 
gratify  the  groundlings  \_Ham.  iii.  2.  12]  upon  the  conclusion  of  a 
play.  These  absurd  compositions,  intended  only  as  a  vehicle  for 
buffoonery,  were  usually  improvisations  of  the  singer,  tagged  to 
some  popular  ballad-burden,  or  the  first  lines  of  various  songs 
strung  together  in  ludicrous  juxtaposition,  at  the  end  of  each  of 
which  the  performer  indulged  in  hideous  grimace  and  a  grotesque 
sort  of*  Jump  Jim  Crow '  dance."  The  editors  and  commentators 
generally  agree  with  Staunton  and  Steevens.  Knight,  on  the  other 
hand,  says :  "  We  hold  the  Clown's  epilogue  song  to  be  the  most 
philosophical  clown's  song  upon  record ;  and  a  treatise  might  be 
written  upon  its  wisdom.  It  is  the  history  of  a  life,  from  the  con- 
dition of  'a  little  tiny  boy,'  through  'man's  estate,'  to  decaying 
age  — '  when  I  came  into  my  bed ' ;  and  the  conclusion  is,  that 
what  is  true  of  the  individual  is  true  of  the  species,  and  what  was 
of  yesterday  was  of  generations  long  passed  away  —  for  — 

'  A  great  while  ago  the  world  begun.'  " 

Mr.  John  Weiss  also  says  :  "  When  the  play  is  over  .  .  .  Feste  is 
left  alone  on  the  stage.  Then  he  sings  a  song  which  conveys  to  us 
his  feeling  of  the  world's  impartiality ;  all  things  proceed  according 
to  law  ;  nobody  is  humoured  ;  people  must  abide  the  consequences 
of  their  actions, '  for  the  rain  it  raineth  every  day.'  .  .  .  The  grave 
insinuation  of  this  song  is  touched  with  the  vague  soft  bloom  of  the 
play.  .  .  .  How  gracious  has  Shakespeare  been  to  mankind  in  this 
play !  He  could  not  do  otherwise  than  leave  Feste  all  alone  to 
pronounce  its  benediction."  Furness,  after  quoting  this,  adds  : 
"  It  is  delightful  to  find  a  reader,  since  Knight,  on  whom  the 
charm  of  this  song  is  not  lost." 

In  Lear  (iii.  2.  74  fol.)  the  Fool  sings  this  stanza  of  a  song  :  — 

"  He  that  has  and  a  little  tiny  wit, 

With  hey,  ho,  the  wind  and  the  rain, 


224  Notes  [Act  v 

Must  make  content  with  his  fortunes  fit, 
For  the  rain  it  raineth  every  day." 

Furness  thinks  that  this  may  have  been  the  same  song  as  in  the 
present  play,  "  but  changed  by  the  Fool  to  suit  the  occasion."  On 
the  other  hand,  it  might  be  suggested  that  the  occurrence  of  the 
same  song  in  two  plays  perhaps  tells  against  the  theory  that  it  is 
Shakespeare's,  whether  it  is  worthy  of  him  or  not. 

And  a  little,  etc.  And  is  often  used  as  an  expletive  in  popular 
songs.  Cf.  Oth.  ii.  3.  92  :  "  King  Stephen  was  and  a  worthy  peer  " 
(ist  quarto  and  most  modern  eds.  omit  "  and"  ). 

401.    Wive.    For  the  verb,  cf.  M.  of  V.  ii,  9.  83,  Oth.  iii.  4.  64,  etc. 


APPENDIX 

COMMENTS  ON  SOME  OF  THE  CHARACTERS 

VIOLA.  —  Viola  is  not  only  one  of  the  loveliest  of  Shakespeare's 
heroines,  but  she  surpasses  them  all  in  the  unselfishness  of  her  love; 
or,  since  true  love  is  always  unselfish,  we  will  say  that  her  unselfish- 
ness is  subjected  to  severer  tests  than  that  of  any  other  of  these 
heroines,  and  never  fails  in  the  ordeal.  As  another  puts  it,  "  in 
her  we  see  the  full  beauty  and  pathos  of  faithful  self-abnegation." 
She  not  only  cannot  tell  her  love,  but  she  is  compelled  to  be  the 
messenger  and  advocate  of  the  man  she  loves  in  secret  to  another 
woman  ;  and  she  discharges  the  unwelcome  duty  with  absolute 
loyalty.  When  Olivia  refuses  to  see  her,  she  might  have  escaped 
the  painful  task,  but  she  persists  in  gaining  admittance  to  the  lady, 
and  urges  her  master's  suit  as  earnestly  as  if  it  had  been  her  own. 

When  Olivia  resorts  to  the  trick  of  sending  the  ring  after  her  by 
Malvolio,  her  conduct  is  marked  by  equal  presence  of  mind  and 
delicate  regard  for  the  reputation  of  the  Countess.  Some  of  the 
critics  (see  note  on  ii.  2.  12)  have  failed  to  appreciate  this,  and 
have  changed  the  text  from  "  She  took  the  ring  of  me  "  to  "  She 
took  no  ring  of  me,"  which  is  what  most  women  would  have  said, 
but  which  would  have  betrayed  the  trick  to  Malvolio.  Viola,  who 
is  quick  to  perceive  that  Olivia  has  given  him  the  message  that  he 
m$y  not  suspect  her  motive  in  sending  the  ring,  accepts  the  false 
version  as  true  in  order  to  screen  the  lady  from  the  consequences 
of  her  stratagem.  She  tells  a  falsehood  to  prevent  the  detection 
of  Olivia's  falsehood,  and  gives  the  Duke  no  hint  of  it,  though  it 
might  have  been  the  means  of  disenchanting  him. 

TWELFTH  NIGHT —  15         225 


226  Appendix 

Julia,  in  the  Two  Gentlemen  of  Verona^  is  sent  with  a  mes- 
sage of  love  to  Sylvia  by  the  faithless  Proteus,  but  she  is  not 
enjoined  to  urge  his  suit,  but  merely  to  give  Sylvia  a  ring  and  ask 
for  the  picture  the  lady  had  promised  to  Proteus  to  get  rid  of  his 
importunities.  Julia  discharges  the  duty,  but  takes  the  opportunity 
of  referring  indirectly  to  her  own  claims  upon  the  false  lover,  thus 
damaging  his  prospect  of  gaining  his  suit  and  winning  for  herself 
the  sympathy  of  Sylvia.  Her  task  is  easy  compared  with  that 
of  Viola,  but  she  does  not  perform  it  with  the  same  forget  fulness 
of  her  own  interests. 

Viola's  position  is  the  more  trying  from  the  fact  that  she  has  no 
confidant  as  Julia  and  Rosalind  have.  She  "  never  tells  her  love  " 
—  she  cannot  tell  it,  as  Olivia  does,  though  she  can  be  eloquent  in 
describing  it  as  the  love  of  another  while  pleading  for  the  Duke 
with  the  Countess,  and  in  hinting  of  it  to  him  in  the  pathetic  story 
of  her  fictitious  sister. 

When  Olivia  tellsj^iola  (Cesario)  that  "she  loves  her  (him),  the 
girl,  though  she  sees  the  ludicrous  side  of  the  avowal,  does  not  treat 
the  deluded  lady  as  Rosalind,  in  a  similar  position,  treats  Phebe. 
To  be  sure,  the  Countess  is  a  very  different  person  from  the  pert 
little  shepherdess,  and  this  naturally  affects  the  bearing  of  Viola 
towards  her ;  but,  though  Olivia  has  scorned  the  love  of  the  Duke 
as  Phebe  has  scorned  that  6T~Silvius,  Viola  does  not  refer  to  that 
fact  at  all,  but  merely  continues  to  urge  Yhe  suit  of  her  master,  after 
assuring  the  lady  that  her  own  suit  is  hopeless.  She  pities  Olivia, 
as  she  tells  her,  but  does  not  laugh  at  her. 

Shakespeare  often  puts  his  heroines  into  male  apparel,  but  they 
assume  it  for  various  reasons  and  behave  differently  in  it.  Viola  is 
driven  to  adopt  it  by  the  necessities  of  her  situation.  Shipwrecked 
on  the  coast  of  a  strange  land,  she  can  think  of  no  shelter  except 
in  the  court  of  the  Duke,  about  whom  she  has  heard,  but  as  he  is  a 
bachelor  she  cannot  seek  service  there  unless  her  sex  is  disguised. 
Rosalind  and  Portia  play  the  part  of  young  men  with  no  hesitation 
when  it  answers  their  purposes,  and  recognize  the  humorous  aspect 


Appendix  227 

of  the  transformation  from  the  first.  Rosalind,  whatever  "  hidden 
woman's  fear  "  may  be  in  her  heart,  will  "  have  a  swashing  and  a 
martial  outside," 

"  As  many  other  mannish  cowards  have 
That  do  outface  it  with  their  semblances." 

Portia  will  walk  and  talk  "  like  a  fine  bragging  youth,"  and  practise 
"  a  thousand  raw  tricks  "  of  such  fellows.  Julia  will  attire  herself 
as  a  "  well-reputed  page,"  knit  up  her  hair  in  silken  strings  "  with 
twenty  odd-conceited  true-love  knots,"  and  go  boldly  from  Verona 
to  Milan  in  pursuit  of  her  good-for-nothing  lover,  though  at  the 
time  she  does  not  suspect  his  perfidy  and  plans  the  journey  only 
because  she  longs  to  see  him.  Imogen,  when  she  gets  the  message 
from  her  husband  to  meet  him  at  Milford  Haven,  decides  to  start  at 
once  with  the  faithful  Pisanio,  and  when  he  leaves  her  after  she  has 
read  the  letter  of  Posthumus  urging  her  murder,  she  follows  the 
advice  of  Pisanio  and  puts  on  the  male  attire  which  he  has  provided 
in  anticipation  of  the  emergency.  Like  Viola,  she  does  it  under 
the  pressure  of  necessity,  though  of  a  far  more  painful  character, 
but  she  wears  the  unfamiliar  dress  with  no  apparent  embarrassment. 
/  But  Viola  is  never  quite  at  ease  in  her  disguise.  She  finds  no 
pleasure  or  amusement  in  it  like  Rosalind  and  "Portia.  This  is 
shown  by  her  occasional  allusions  to  it,  and  her -hints  that  she  is  not 
whaf  she  seems  —  hints  that  show  her  self-consciousness  rather  than 
any  fear  or  suspicion  that  the  disguise  will  be  detected  or  suspected. 
When  she  finds  that  Olivia  is  in  love  with  her,  she  half  reproaches 
herself  for  the  part  she  is  playing,  though  driven  to  it  in  self-defence : 

(    "  Disguise,  I  see  thou  art  a  wickedness 

Wherein  the  pregnant  enemy  does  much." 

She  feels  that  she  is  in  a  predicament  out  of  which  she  can  see  no 
escape  at  present.     She  recognizes  the  humorous  side  of  it,  but  finds 
no  amusement  in  it,  her  pity  for  Olivia  being  the  predominant r 
feeling :  — 


228  Appendix 

"  How  will  this  fadge  ?  my  master  loves  her  dearly; 
And  I,  poor  monster,  fond  as  much  on  him  ; 
And  she,  mistaken,  seems  to  dote  on  me. 
What  will  become  of  this  ?    As  I  am  man, 
My  state  is  desperate  for  my  master's  love ; 
As  I  am  woman,  —  now  alas  the  day !  — 
What  thriftless  sighs  shall  poor  Olivia  breathe ! 
O  time !  thou  must  untangle  this,  not  I ; 
It  is  too  hard  a  knot  for  me  to  untie !  " 

Even  more  trying  and  perplexing  is  the  position  in  which  she 
finds  herself  when  the  duel  with  Sir  Andrew  is  impending  and  she 
is  led  to  believe  that  he  is  a  formidable  antagonist.  Her  instinc- 
tive timidity  and  his  natural  though  ridiculous  cowardice  are  most 
laughably  set  forth  ;  and  we  who  are  in  the  secret  are  almost  sorry 
when  Antonio  interposes  and  puts  a  stop  to  the  threatened  passage 
at  arms.  We  cannot  help  feeling  a  curiosity  to  see  which  would 
prove  the  better  man  of  the  two.  It  is  not  impossible  that,  in 
sheer  desperation,  the  maiden  might  have  assumed  a  semblance  of 
valour  that  would  have  driven  the  pusillanimous  knight  from  the 
field. 

Viola  is  not  lacking  in  true  courage  when  love  draws  it  forth. 
When  the  Duke,  confounding  her  with  her  brother,  believes  that 
she  has  treacherously  gained  the  heart  and  hand  of  Olivia  and 
threatens  her  with  death,  she  offers  her  bosom  to  the  knife  and 
cries  :  — 

"  And  I  most  jocund,  apt,  and  willingly, 
To  do  you  rest,  a  thousand  deaths  would  die  !  " 

But  a  happy  life  with  the  man  she  has  loved  in  secret,  not  a  dread- 
ful death  at  his  hands,  is  to  be  her  destiny.  The  intricacies  of  the 
plot  are  unravelled,  and  when  Orsino,  recalling  her  hints  at  her  con- 
cealed passion,  now  finds  that  she  is  a  woman,  and  says,  — 

"  Boy,  thou  hast  said  to  me  a  thousand  times 
Thou  never  shouldst  love  woman  like  to  me,  —  " 


Appendix  229 

we  know  that  she  can  tell  her  love  at  last,  and  that  she  means  all 
that  she  speaks  when  she  turns  to  him  and  exclaims :  — 

"  And  all  those  sayings  will  I  over-swear, 
And  all  those  swearings  keep  as  true  in  soul 
As  doth  that  orbed  continent  the  fire 
That  severs  day  from  night." 

ORSINO.  —  One  might  feel  some  doubt  at  first  whether  the  Duke 
was  quite  worthy  of  Viola,  and  the  transfer  of  his  devotion  from  Olivia 
to  her  may  seem  unnaturally  sudden.  But  Shakespeare  has  really 
prepared  the  way  for  it.  The  Duke,  as  the  poet  has  taken  pains  to 
show  by  many  little  touches,  is  greatly  attracted  by  his  new  page, 
so  much  so  that  others  in  the  court  notice  it  almost  from  the 
first.  Valentine  says  to  Viola  (i.  4.  i)  :  "  If  the  duke  continue  these 
favours  towards  you,  Cesario,  you  are  like  to  be  much  advanced; 
he  hath  known  you  but  three  days,  and  already  you  are  no  stranger." 
Orsino  indicates  his  feeling  toward  the  supposed  boy  by  the  confi- 
dence he  reposes  in  him,  and  by  the  affectionate  tone  he  soon 
adopts  in  speaking  to  him.  "  Good  youth,"  "  good  Cesario,"  "  dear 
lad,"  and  the  like,  are  the  terms  in  which  he  addresses  him.  The 
page's  talk  about  love  has  perhaps  as  much  to  do  with  the  affection 
he  inspires  as  his  pleasing  personality.  "Thou  dost  speak  mas- 
terly," the  Duke  declares,  and  he  suspects  at  once  that  the  youth 
must  have  been  in  love  himself. 

Besides,  Orsino  is  not  so  much  in  love  as  he  imagines  he  is.  He, 
reminds  us  of  Romeo,  in  the  salad  days  of  his  love  for  Rosaline. 
VnmTgjjipri  pf  i^fcjx)mantic  andj>gnHmrnta1  typ*  fancy  that  jhe; 
are  in  love  —  sometimes  again  and  again  —  before  a  genuine  pas- 
sfim- takes  pnsses&iuii  of  them!  "AsT  Rosalind  expresses  it,  Cupid 
may  have  clapped  them  on  the  shoulder,  but  they  are  really  heart- 
whole.  They  are  capable  of  love,  have  a  longing  for  love,  and  are 
apt  to  become  enamoured  of  the  first  attractive  young  woman  that 
comes  in  their  way.  Such  love  is  like  that  of  the  Song  in  the 
Merchant  of  Venice  :  — 


2jo  Appendix 

"  It  is  engender'd  in  the  eyes, 
By  gazing  fed,  and  fancy  dies 
In  the  cradle  where  it  lies." 

It  lives  only  until  it  is  displaced  by  a  healthier,  more  vigorous  love, 
capable  of  outliving  the  precarious  period  of  infancy. 

The  Duke  himself  seems  at  times  to  be  aware  of  the  nature  of 
his  passion,  or  of  similar  instances  in  other  people.  He  tells  Viola, 
supposing  her  to  be  of  his  own  sex : — 

"  For,  boy,  however  we  do  praise  ourselves, 
Our  fancies  are  more  giddy  and  unfirm, 
More  longing,  wavering,  sooner  lost  and  worn, 
Than  women's  are;" 

and  in  his  next  speech  he  says  that  unless  the  woman  is  younger 
than  the  man,  his  affection  "cannot  hold  the  bent"  —  that  is, 
retain  its  tension  or  strength  —  because  feminine  beauty  in  that 
case  will  the  sooner  fade  :  — 

"  For  women  are  as  roses,  whose  fair  flower, 
Being  once  display'd,  doth  fall  that  very  hour." 

The  unspoken  inference  is  that  the  man's  love  will  not  outlast  the 
faded  bloom  of  beauty. 

A  moment  afterwards,  when  Viola,  who  with  feminine  insight 
may  have  a  notion  of  the  instability  of  his  love,  hints  at  the  possi- 
bility of  his  getting  over  it,  as  a  woman  would  have  to  do  if- he  could 
not  love  her,  he  contradicts  what  he  has  just  said,  declaring  that 

"  There  is  no  woman's  sides 
Can  bide  the  beating  of  so  strong  a  passion 
As  love  doth  give  my  heart,  no  woman's  heart 
So  big  to  hold  so  much.  .  .  . 

Make  no  compare 

Between  that  love  a  woman  can  bear  me 
And  that  I  owe  Olivia." 

But  this  rhapsodical  passion  is  a  lazy  languorous  one  after  all.  It 
does  not  drive  him,  as  it  would  if  it  were  the  overmastering  love 


Appendix  23 1 


he  imagines  it  to  be,  to  press  his  suit  in  person,  despite  the  lady's 
resolution  to  shut  herself  up  in  solitary  grief  for  the  loss  of  her 
brother.  He  does  his  wooing  by  proxy,  like  Claudio  in  Much  Ado, 
whose  love  is  of  the  same  weak  sentimental  sort.  Viola  herself  in- 
directly reproves  him  for  this  lack  of  spirit  in  his  love-making  when 
she  tells  Olivia  that,  were  she  the  wooer,  she  would  not  take  any 
second-hand  denial  from  the  lady :  — 

41  In  your  denial  I  would  find  no  sense ; 
I  would  not  understand  it." 

Olivia  asks :  — 

"  Why,  what  would  you  ?  " 
and  Viola  replies  :  — 

"  Make  me  a  willow  cabin  at  your  gate, 
And  call  upon  my  soul  within  the  house ; 
Write  loyal  cantons  of  contemned  love, 
And  sing  them  loud  even  in  the  dead  of  night; 
Halloo  your  name  to  the  reverberate  hills, 
And  make  the  babbling  gossip  of  the  air 
Cry  out  Olivia !     O,  you  should  not  rest 
Between  the  elements  of  air  and  earth 
But  you  should  pity  me  !  " 

When  at  last  —  in  the  final  scene  of  the  play  —  Orsino  meets 
Olivia  face  to  face,  and  she  checks  him  as  he  begins  to  plead  his 
case  in  person,  he  asks :  "  Still  so  cruel  ?  "  "  Still  so  constant," 
she  replies  ;  and  when  he,  after  complaining  of  her  perversity 
and  ingratitude  in  rejecting  him,  weakly  asks,  "  What  shall  I 
do  ?  "  she  answers :  "  Even  what  it  please  my  lord,  that  shall  be- 
come him."  Then  he  -gets  angry  and  threatens  both  her  and 
Cesario,  whom  he  suspects  her  of  loving,  with  death.  This  is  quite 
,  consistent  with  the  sentimental  selfishness  of  his  feeling  for  Qliyia./^ 
There  is  nothing  of  the  true  lover  in  it>  It  is  the  petulant  wrath 


23  2  Appendix 

of  the  child  that  cannot  have  its  way.     Compare  what  Shakespeare 
says  in  the  ii6th  Sonnet :  — 

"  Love  is  not  love 

Which  alters  when  it  alteration  finds, 
Or  bends  with  the  remover  to  remove. 
O,  no  !  it  is  an  ever  fixed  mark, 
That  looks  on  tempests  and  is  never  shaken ; 
It  is  the  star  to  every  wandering  bark, 
Whose  worth  's  unknown,  although  his  height  be  taken. 
Love  's  not  Time's  fool,  though  rosy  lips  and  cheeks 
Within  his  bending  sickle's  compass  come ; 
Love  alters  not  with  his  brief  hours  and  weeks, 
But  bears  it  out  even  to  the  edge  of  doom." 

Love  that  is  love  indeed  alters  not  with  disappointment  or  sepa- 
ration or  the  lapse  of  time,  but  endures  "  even  to  the  edge  of 
doom." 

The  appearance  of  Sebastian  and  the  disclosure  of  the  sex  of 
Viola  save  both  her  and  Olivia  from  the  fate  threatened  by  Orsino, 
who  promptly  transfers  his  affections  to  the  maiden  for  whom  he 
has  had  a  kindly  feeling  in  her  disguise.  Let  us  not  say,  however, 
that  he  transfers  to  her  the  kind  of  affection  that  he  had  for  the 
Countess.  We  will  hope  that  it  is  the  true  love  of  which  that  sen- 
timental fancy  was  but  the  poor  semblance  ;  or,  if  it  is  not  such 
at  the  moment,  that  it  will  grow  to  be  such  —  and  what  we  know 
of  Viola  assures  us  that  this  will  inevitably  come  to  pass.  And  the 
Duke  is  not  a  bad  match  for  the  lovely  and  loving  Viola.  Olivia, 
though  she  could  not  return  his  love,  said  of  him :  — 

"  Yet  I  suppose  him  virtuous,  know  him  noble, 
Of  great  estate,  of  fresh  and  stainless  youth ; 
In  voices  well  divulg'd,  free,  learn'd,  and  valiant; 
And  in  dimension  and  the  shape  of  nature 
A  gracious  person," 


Appendix  233 

We  will  believe  that  "  they  lived  happily  ever  after,"  and  that  the 
Countess  was  equally  fortunate  in  the  exchange  of  Cesario  for 
Sebastian. 

MARIA.  —  Maria  is  unrivalled  in  her  way  among  Shakespeare's 
women.  So  much  mischief,  fun,  and  vivacity  were  never  before  or 
since  put  into  one  little  body.  If  she  had  not  been  a  diminutive 
sprite-like  personage,  she  could  never  have  been  so  alert  and  active 
in  mischief.  Her  petite  frame  is  packed  full  of  merriment  and 
sportiveness.  She  is  like  Puck  in  petticoats,  and  like  Puck  she 
would  say :  — 

"  And  those  things  do  best  please  me 
That  befall  preposterously." 

Not  a  person  in  the  house  or  that  comes  into  the  house  escapes 
the  attacks  of  her  wit  and  waggery.  When  Viola  comes  disguised 
as  the  Duke's  page,  and  Olivia  is  inclined  to  dismiss  her  briefly, 
Maria,  ever  on  the  watch  for  a  chance  to  give  somebody  a  rap, 
chimes  in  with  "  Will  you  hoist  sail,  sir  ?  here  lies  your  way  ;  "  but 
Viola,  who  is  not  without  wit,  though  she  seldom  has  opportunity 
in  the  play  to  show  it,  is  -here  a  match  for  her  pert  assailant,  and 
promptly  retorts  the  nautical  impudence  in  the  same  figurative 
fashion,  "  No,  good  swabber,  I  am  to  hull  here  a  little  longer." 
Before  Maria  recovers  sufficiently  from  the  sharp  repartee  to  strike 
back,  the  Countess  sends  her  from  the  room. 

Maria  does  not  spare  her  companions  in  mischief.  She  berates 
them  for  their  "  caterwauling,"  as  she  calls  it,  though,  when  Mal- 
volio  comes  in  and  joins  in  the  attack,  she  turns  from  them  to 
assail  him,  and  when  he  goes  out  bids  him  "  go  shake  his  ears." 
All  the  subsequent  plot  against  Malvolio  is  of  her  devising,  and 
with  what  zest  she  follows  it  up !  She  is  as  ready  to  join  in  a 
practical  joke  started  by  others  as  to  carry  out  one  of  her  own 
concocting.  When  Toby  and  Fabian  are  urging  Sir  Andrew  to 
challenge  Viola,  she  zealously  seconds  them.  And  she  enjoys  it  all 
so  much  that  she  becomes  utterly  merciless  in  pursuing  it.  When 


234  Appendix 

the  others  are  disposed  to  think  that  the  joke  has  been  carried  far 
enough,  she  will  not  hear  of  its  being  given  up.  Fabian  says  when 
they  are  tormenting  Malvolio,  "  Why,  we  shall  make  him  mad 
indeed."  "The  house  will  be  the  quieter"  is  her  only  reply.  The 
Clown  is  the  only  one  who  is  a  match  for  her,  but  perhaps  this  is 
due  to  the  fact  that  he  knows  her  liking  for  Toby,  about  which  she 
does  not  fancy  being  joked.  In  the  end  Toby  marries  her,  but  we 
cannot  imagine  that  he  ever  became  her  master. 

SIR  TOBY  AND  SIR  ANDREW.  —  Toby,  as  some  of  the  critics  have 
noted,  has  a  certain  resemblance  to  Falstaff,  but  it  is  to  the  fat 
knight  in  his  decadence.  He  has  Falstaffs  love  for  a  practical 
joke,  and  his  unscrupulousness  in  getting  money  from  his  friends 
by  humouring  their  weaknesses.  He  "  bleeds  "  Sir  Andrew  with- 
out mercy,  fooling  him  with  hopes  of  winning  the  hand  of  Olivia, 
much  as  lago  does  Roderigo.  It  may  seem  at  first  to  be  in  a 
meaner  way  than  lago's,  for  Olivia  is  his  kinswoman,  and  he  is 
enjoying  her  hospitality  at  the  time ;  but  we  must  not  imagine 
that  he  believes  Andrew  could  ever  succeed  in  his  suit. 

Andrew  is  an  unmitigated  fool  from  first  to  last.  He  never  says 
or  does  a  sensible  thing.  All  his  talk  is  marked  by  a  plentiful  lack 
of  wit,  and  much  of  it  is  a  stupid  echoing  of  Toby,  for  whom  he 
has  a  boobyish  admiration.  When  Toby  says  of  Maria  that  she 
"adores"  him,  Andrew  follows  with  "I  was  adored  once  too," 
catching  at  the  word  with  the  senseless  iteration  of  the  parrot. 
Toby  says,  "  I  could  marry  this  wench  for  this  device."  "  So  could 
I  too  "  is  the  echo.  "  And  ask  no  other  dowry  with  her  than  such 
another  joke,"  says  Toby.  "  Nor  I  neither  "  chimes  in  Andrew ; 
and  so  the  antiphony  goes  on. 

There  is  a  touch  of  humour  in  the  innocent  readiness  with  which 
Andrew  refers  to  his  reputation  as  both  knave  and  fool.  In  the 
noisy  carousal  at  night  he  proposes  that  they  sing  the  catch  called 
"  Thou  knave."  The  fool  says,  "  I  shall  be  constrained  in  't  to 
call  thee  knave,  knight."  "  T  is  not  the  first  time  I  have  con- 
strained one  to  call  me  knave  "  is  the  reply,  Later,  he  and  his 


Appendix  235 

friends  are  overhearing  Malvolio  as  he  rehearses  in  the  garden 
what  he  means  to  say  to  Toby  :  "  Besides,  you  waste  the  treasure 
of  your  time  with  a  foolish  knight."  "  That  's  me,  I  warrant  you," 
Andrew  says  to  his  companions.  "  One  Sir  Andrew,"  continues 
Malvolio  ;  and  the  knight  cries,  "  I  knew  't  was  I,  for  many  do  call 
me  fool !  " 

MALVOLIO.  —  From  the  first  Malvolio  was  a  favourite  character 
on  the  stage.  In  the  earliest  known  reference  to  the  play,  in  the 
manuscript  Diary  of  John  Manningham,  the  trick  played  upon  the 
steward  is  the  chief  feature  mentioned ;  and  Leonard  Digges,  in 
the  verses  prefixed  to  the  edition  of  Shakespeare's  Poems  printed 
in  1640,  alludes  to  the  character,  in  connection  with  Falstaff,  Bene- 
dick, and  Beatrice,  as  attracting  crowds  to  the  theatre :  — 

"  lo,  in  a  trice 

The  cockpit,  galleries,  boxes,  all  are  full 
To  hear  Malvolio,  that  cross-garter'd  Gull." 

Malvolio,  however,  has  been  often  misunderstood,  not  only  by 
the  average  reader  of  the  play,  but  by  critics  and  commentators. 
The  stage  tradition  of  former  days  made  him  a  "  low  comedy '» 
character ;  an  idea  against  which  Charles  Lamb  protested,  declar- 
ing that  the  steward  was  not  essentially  ludicrous,  and  that  an  air 
of  dignity  should  be  thrown  about  the  part  :  "  He  might  have 
worn  his  gold  chain  with  honour  in  one  of  our  old  Roundhead 
families,  in  the  service  of  a  Lambert  or  a  Lady  Fairfax."  LHe  is 
the  trusted  and  valued  steward  of  Olivia,  who  is  seriously  troubled 
when  she  is  led  to  suspect  that  he  is  apparently  becoming  insane.  * 
He  is  no  fool  except  so  far  as  his  inordinate  self-conceit  makes  him 
so  ;  and  upon  this  weakness  the  conspirators  base  their  plot  against 
him.  The  high  opinion  his  mistress  has  of  him,  and  the  favour 
which  on  this  account  she  has  shown  him,  prepare  the  way  for  his 
falling  into  the  trap  set  for  him.J 

In  ii.  3.  151  Maria  says  of  Malvolio,  "Marry,  sometimes  he  is  a 
kind  of  Puritan."  From  this  it  has  been  assumed  by  some  of  the 


236  Appendix 

editors  that  the  steward  was  a  Puritan,  and  they  have  quoted  his 
"cross-gartering"  as  being  a  Puritan  fashion.  Steevens  cites 
Barton  Holyday  (1593-1666)  :  — 

11  Had  there  appear'd  some  sharp  cross-garter'd  man, 
Whom  their  loud  laugh  might  nickname  Puritan." 

But  Maria  does  not  call  Malvolio  a  Puritan;  she  simply  says  that 
"  sometimes  he  is  a  kind  of  Puritan  ";  that  is,  he  has  something  of 
the  ways  and  manners  of  the  Puritans.  Like  them  he  is  indifferent 
to  "cakes  and  ale,"  and  takes  life  very  seriously.  When  Sir 
Andrew  understands  her  to  mean  that  the  steward  really  is  a  Puri- 
tan, she  corrects  him :  "  The  devil  a  Puritan  that  he  is,  or  anything 
constantly  but  a  time-pleaser,"  etc. 

Malvolio  at  no  time  talks  like  a  Puritan,  as  he  would  naturally 
have  done  if  he  had  been  one  when  he  came  in  to  reprove  the 
midnight  roysterers  (ii.  3).  It  is  the  noise  and  disturbance  they 
are  making  at  that  unseasonable  hour  for  which  he  reproaches 
them,  not  the  sin  of  their  drunken  revelry,  against  which  a  Puritan 
would  have  inveighed.  Falstaff  was  a  better  Puritan  when  he 
played  the  part  of  one  at  the  Boar's  Head  (i  Hen.  IV.  ii.  4.  421 
fol.)  and  lectured  Prince  Hal  on  his  profligate  habits. 

As  to  the  cross-gartering,  Halliwell-Phillipps  remarks:  "In 
Shakespeare's  time  the  fashion  was  yet  in  credit,  and  Olivia's 
detestation  of  it  arose,  we  may  suppose,  from  thinking  it  coxcombi- 
cal. .  .  .  But  when  Barton  Holyday  wrote  [toward  the  middle  of 
the  seventeenth  century],  the  fashion  was  exploded,  and  was  re- 
tained only  by  Puritans  and  old  men."  He  cites,  among  other 
illustrations  of  this,  Ford,  Lovers  Melancholy  (1629)  :  "As  rare  an 
old  gentleman  as  ever  walk'd  cross-garter'd." 

FESTE.  — The  Clown  is  one  of  the  best  of  Shakespeare's  profes- 
sional fools,  no  two  of  whom  are  alike  in  all  respects.  They  have 
as  distinct  an  individuality  as  his  more  serious  and  more  important 
characters.  One  of  the  notable  peculiarities  of  Feste  is  the  vein  of 
sentiment  which  appears  in  him  at  times.  He  is  a  singer,  and  his 


Appendix  237 

repertory  is  not  confined  to  comic  songs,  but  includes  lyrics  of  love 
and  death,  like  the  one,  "Come  away,  come  away,  death,"  of  which 
the  Duke  was  so  fond  —"that  old  and  antique  song"  which  suited 
his  mood  better  than  "light  airs  and  recollected  tunes  of  these  most 
brisk  and  giddy-paced  times,"  and  which  Feste  could  render  with 
so  much  feeling  that  Viola  says  of  it :  — 

"  It  gives  a  very  echo  to  the  seat 
Where  Love  is  thron'd." 

There  is,  moreover,  much  wisdom  in  his  foolery  on  occasion;  as 
when  Toby  comes  in  drunk  and  Olivia  asks,  "  What's  a  drunken 
man  like,  fool?"  and  Feste  replies:  "Like  a  drowned  man,  a  fool, 
and  a  madman.  One  draught  above  heat  makes  him  a  fool;  the 
second  mads  him;  and  a  third  drowns  him." 

He  can^criticise  his  own  punning  and  quibbling  ;  as  when,  after 
joking  in  that  way  with  Viola,  he  says :  "  To  see  this  age  !  A  sen- 
tence is  but  a  cheveril  glove  to  a  good  wit ;  how  quickly  the  wrong 
side  may  be  turned  outward !  "  and  in  the  same  scene  when  he 
says :  "  Who  you  are  and  what  you  would  are  not  of  my  welkin  — 
I  might  say  element,  but  the  word  is  over-worn."  Shakespeare  is 
Jpnd  of  satirizing  the  affectations  in  the  language  of  his  day,  but  he 
generally  does  it  through  serious  characters  ;  as  when  Hamlet  and 
Horatio  ridicule  Osric's  fine  talk,  or  when  Lorenzo  comments  on 
Launcelot's  word -twisting  (M.  of  V.  iii.  5.  70  fol.),  comparing  it 
with  that  of  "  fools  that  stand  in  better  place  [of  higher  social 
rank]  who  for  a  tricksy  word  defy  the  matter  "  —  sacrificing  the 
sense  for  the  sake  of  a  quibble.  So  when  Sebastian  says  to  Feste, 
"  I  prithee,  vent  thy  folly  somewhere  else,"  the  Clown  catches  at 
the  word  vent:  "Vent  my  folly!  he  has  heard  that  word  of  some 
great  man,  and  now  applies  it  to  a  fool.  Vent  my  folly !  I  am 
afraid  this  great  lubber,  the  world,  will  prove  a  cockney." 

He  is  shrewd  to  see  the  weaknesses  of  his  superiors  in  rank.  He 
knows  that  Toby  is  a  fool  indeed  —  he  "  has  a  most  weak  pia 
mater"  He  can  slyly  reprove  Olivia's  excessive  mourning  for  her 


23  8  Appendix 

I 

brother  who  is  "  in  heaven."  He  understands  the  fickle  vagaries  of 
the  Duke,  to  whom  he  says :  "  Now  the  melancholy  god  protect  thee; 
and  the  tailor  make  thy  doublet  of  changeable  taffeta,  for  thy  mind 
is  a  very  opal !  —  I  would  have  men  of  such  constancy  put  to  sea, 
that  their  business  might  be  every  thing  and  their  intent  every 
where;  for  that 's  it  that  always  makes  a  good  voyage  of  nothing." 
He  can  play  the  part  of  the  parson,  Sir  Topas,  quoting  Latin  and 
Scripture,  and  catechizing  the  imprisoned  Malvolio  on  the  Pythag- 
orean doctrine  of  metempsychosis  —  in  short,  as  he  says,  he  is 
"for  all  waters,"  equal  to  any  demand,  dramatic,  musical,  or  other, 
that  may  be  made  upon  him.  He  is  the  most  versatile  of  fools,  a 
favourite  with  everybody  in  the  play  except  the  sour  Malvolio,  and 
with  every  reader  of  the  play,  unless  he  be  like  Malvolio,  incapable 
of  appreciating  the  mingled  wit  and  wisdom  of  such  foolery  as 
Feste's. 


THE  TIME-ANALYSIS  OF  THE  PLAY 

As  Mr.  P.  A.  Daniel  shows  in  his  paper  "  On  the  Times  or  Dura- 
tions of  the  Action  of  Shakspere's  Plays"  (see  on  i.  4.  3  above), 
the  action  of  this  play  occupies  three  days,  with  an  interval  of 
three  days  between  the  first  and  second. 

The  events  of  the  first  three  scenes  may  all  be  supposed  to  take 
place  in  one  day.  In  i.  4.  3,  Valentine  says  "  he  hath  known  you 
but  three  days"  (see  note  thereupon),  which  ihows  that  time  to 
have  elapsed  since  i.  3.  The  remaining  scenes  of  act  i.,  with  the 
first  three  of  act  ii.,  occur  on  this  second  day,  at  the  close  of  which 
(ii.  3.  204)  Sir  Toby  and  Sir  Andrew  go  off  to  "  burn  some  sack," 
as  it  is  "too  late  to  go  to  bed."  In  ii.  4.  3,  the  Duke  asks  for  the 
song  "we  heard  last  night"  which  indicates  that  only  one  night 
has  intervened;  and  the  rest  of  the  play  furnishes  matter  for  but  a 
single  "  May  morning"  (iii.  4.  152).  It  is  difficult  to  understand 
when  Sir  Toby  and  Maria  found  time  to  be  married,  as  the  bride- 


Appendix  239 

groom  has  left  the  stage  in  the  very  same  scene,  drunk  and  with 
a  broken  head.  But  Biondello  tells  us  in  T.  of  S.  (iv.  4.  99), 
"  I  knew  a  wench  married  in  an  afternoon  as  she  went  to  the  gar- 
den for  parsley  to  stuff  a  rabbit";  and  possibly  Sir  Toby  snatched 
a  spare  moment  for  an  impromptu  wedding,  and  so  crammed  more 
matter  into  this  busy  May  morning.  Maria  had  evidently  been 
manoeuvring  for  the  match  all  along,  and  would  willingly  "  be 
married  under  a  bush  like  a  beggar  "  (A.  Y.  L.  iii.  3.  85)  rather 
than  run  the  risk  of  delay. 


LIST  OF  CHARACTERS  IN  THE  PLAY 

The  numbers  in  parentheses  indicate  the   lines  the  characters 
have  in  each  scene. 
&Duke:  i.  1(31),  4(27);  ii.  4(69);  v.  1(94).     Whole  no. 

Sebastian:  ii.  1(36);    iii.  3(20);    iv.  1(17),  3(23);    v. 
Whole  no.  128. 

Antonio:  ii.  1(13);   iii.  3(33),  4(33);   v.  1(28).    Whole  no.  107. 

Captain:  i.  2(32).     Whole  no.  32.      * 

Valentine:  i.  1(9),  4(5).     Whole  no.  14. 

Curio:  i.  1(2);   ii.  4(5).     Whole  no.  7. 

I    Sir  Toby:   i.  3(67),  5(7);   ii.  3(63),   5(44);   iii.  1(7),  2(36), 
4(144);   iv.  1(10),  2(13);   v.  1(7).     Whole  no^^T^) 

Sir  Andrew:  1.3(53);   ii.  3(51),  5(15);   iii.  1(7),  2(12),  4(18)  ; 
iv.  1(7);   v.  1(20).     Whole  no. 
$  Malvolio:  i.  5J^f;   ii. 
2(45);  v-  i09)'     Whole 

Fabian:  ii.  5(33);  iii.  2(25),  4(40) ;  v.  1(30).  Whole  no.  128. 
3  Clown:  i.  5(66);  ii.  3(33)»4(29);  "i-  1(42);  iv.  1(20),  2  (77); 
v»  z(77)«  Whole  no.jg^X) 

Priest:  v.  1(8).     Whole  no.  8. 

\st  Officer :  iii.  4(6);  v.  1(6).     Whole  no.  12. 

2d  Officer:  iii.  4(4).     Whole  no.  4. 


140  Appendix 

Servant:  iii.  4(4).     Whole  no.  4. 

*/  Olivia:  1.5(127);  iii.  1(54), 4(45);  iv.  1(16),  3(12);  v.  1(67). 
Whole  no.^2T, 

JL   Viola:  T2(34),  4(13),  5(75);    "•  2(28),  4(32);    iii.  1(69), 
4(56);  v.  1(46).     Whole  no.<2£p 

Maria:  i.  3(31),  5(25);  ii-  3UO»  5(2°);  ™-  2(17),  4(29);  iv. 
2(6).  Whole  no.  ^/ 

In  the  above  enumeration,  parts  of  lines  are  counted  as  whole 
lines,  making  the  total  in  the  play  greater  than  it  is.  The  actual 
number  of  lines  in  each  scene  (Globe  edition  numbering)  is  as 
follows:  i.  1(41),  2(64),  3(151),  4(42),  5(330);  ii.  1(49),  2(42), 
3(208),  4(127),  5(227);  i".  1(176),  2(90),  3(49),  4(433);  iv. 
1(69),  2(141),  3(35);  v.  1(418).  Whole  no.  in  the  play,  2692. 


INDEX   OF   WORDS   AND   PHRASES 
EXPLAINED 


a  (omitted),  184 

baited,  189 

burn  some  sack,  176 

abatement,  143 

barful,  155 

but  (=  than),  154 

above  heat,  158 

barren  (=dull),  157 

buttery-bar,  150 

abuse  (=  deceive),  189 

bawbling,  211 

by  (=  hard  by),  208 

access  (accent),  154 

bawcock,  197 

by  (play  upon),  187 

accost,  150 

bay-windows,  205 

by  and  by  (=  presently). 

Actaeon,  143 

beagle,  175 

198 

adheres  (=  coheres),  196 

bear-baiting,  151,  189 

by  th'  ears,  183 

admire  (=  wonder),  197 
adorations      (five     sylla- 

bed of  Ware,  the,  192 
beef,  151 

C's,  etc.,  183 

bles),  164 

before  me,  175 

canary,  150 

advance  (=  raise),  181 

belike,  195,  199 

Candy,  211 

advantage  (verb),  207 

bent,  177 

cantons,  164 

aflfectioned,  175 

beseech  you,  189 

caper  (play  upon),  152 

against,  221 

beshrew,  172,  204 

carpet  consideration,  199 

agone  (=  ago),  216 

besides  (preposition),  206 

case  (=  skin),  214 

allow  (=  prove),  148 

bespake  you  fair,  216 

Castiliano  vulgo,  150 

allowed,  157 

bethink  me,  221 

Cataian,  172 

alone,  143,  162 
am  I  made  ?  195 

betrothing,  214 
bias,  218 

catch  (noun),  169 
caught  with  tickling,  180 

an  (=  one),  166 

bibble  babble,  207 

celebration,  208 

anatomy,  192 

bird-bolts,  157 

champaign,  186 

and  (expletive),  224 

blazon,  165 

chantry,  208 

anothergates,  216 

blent,  163 

check  (in  falconry),  184, 

antique,  176 

bloody  argument,  195 

1  88 

apt  (=  ready),  221 
aqua-vita^,  186 

blows  (=  puffs  up),  182 
board  (verb),  150 

cherry-pit,  197 
cheveril,  187 

argument  (=  proof),  191 

bonds  (play  upon),  187 

civil,  195 

Arion,  146 

bonos  dies,  205 

clear-stores,  205 

as  (omitted),  167,  179 

botched  up,  204 

cloistress,  144 

as  much  to  say  as,  157 

botcher,  156 

close  in,  148 

aspect  (accent),  154 

bottom  (=  vessel),  211 

cloyment,  179 

ass  (play  upon),  175 

brabble,  211 

cockatrice,  198 

as  yet  (=  still),  219 

branched  (velvet),  182 

codling,  159 

attend  (=  attend  to),  154 

breach  (=  breaking),  166 

collier  (=  devil),  197 

attend  (=  wait  for),  199 

breast  (=  voice),  169 

comedian,  160 

at  the  stave's  end,  220 

breath  (=  voice),  171 

come  near  me,  196 

at  this  throw,  210 

bred  (=  begotten),  146 

come  to  note,  209 

ay  word,  174 

brock,  184 

comfortable,  163 

broke  my  head,  215 

commerce,  198 

back-trick,  152 

Brownist,  191 

commodity,  188 

baffled,  222 

bum-baily,  198 

compact  (accent),  214 

TWELFTH  NIGHT  —  1  6             24! 

242         Index  of  Words  and  Phrases 


compare  (noun),  179 

degree  (=step),  190 

eyes  had  lost  tongue,  167 

competitors,  205 

delivered  (=  released),  220 

eyes  set,  216 

complexion,  176,  181 

delivered  i,=  shown),  147 

comptible,  160 

demure  travel  of  regard, 

fadge,  1  68 

conceit  (verb),  200 

182 

faithfull'st,  212 

conclusions     to     be     as 

denay,  180 

fall  (=  cadence),  139 

kisses,  209 

deny  (=  refuse)  ,  204 

fancy  (=love),  143,  181, 

conduct  (=  escort),  199    • 

desperate    of  shame  and 

222 

consanguineous,  172 

state.  211 

fat  (=  heavy),  212 

consequently,  196 

determinate,  166 

favour  (=  face),  159,  176, 

cons  state,  175 

dexteriously,  157 

201 

constant     (=  consistent), 

diluculo  surgere,  169 

fear  rn>  colours,  155 

205 

dimension  (=  body),  164, 

feature,  201 

conster,  188 

218 

feelingly  (=  exactly),  175 

continent     (=  container), 

discourse    (=  reasoning), 

fellow,  196 

219 

208 

fertile  tears,  164 

contract      (  =  betrothal)  , 

dishonest,  156 

Feste,  176 

214,  218 

dismount  thy  tuck,  199 

finder  of  madmen,  197 

contracted  (=  betrothed)  , 

disorders,  173 

firago,  200 

218 

dispute  (=  argue),  208 

fire-new,  191 

convents  (verb),  222 

dissemble,  204 

flame-coloured,  153 

coranto,  153 
count    (==  duke),  146,  154 

distempered,  157 
distract  (=  distracted),  219 

flatter  with,  165 
fleshed,  203 

country  (trisyllable),  146 

distraction,  211 

fond  (=  dote),  169 

county  (=  count),  165 

double-dealing,  216 

fool,  222 

couplet  (=  couple),  202 

do  you  rest,  to,  213 

fools'  zanies,  157 

cousin,  220 

draw  the  curtain,  163 

for  (=  because),  191 

coxcomb  (=head),  215 

draw  three   souls   out   of 

for  all  waters,  206 

coystril,  149 

one  weaver,  171 

forbid  not,  167 

cozier,  173 

driving  (=  drifting),  146 

forgive  (=  excuse  from), 

credit,  207 

dry  (=  sapless),  156 

161 

Cressida,  188 

dry  hand,  150 

formal,  184 

cross-gartered,  185 

duello,  by  the,  201 

fortunate-unhappy,  186 

crow,  157 

duke  (=  count)  ,  146 

four  elements,  the,  169 

crowner,  159 

fourteen  years'  purchase, 

cruelty    (concrete),    165, 

Egyptians  in  their  fog,  205 

203 

178 
crumbs  (for  cleaning  gold 

Egyptian  thief,  the,  212 
element  (=  sky),  143,  197 

fraught  (noun\  211 
free  (=  careless),  177 

chains),  174 

Elysium  (=  play  upon?), 

fresh  in  murmur,  147 

cubiculo,  192 
cucullus  non  facit  mona- 

i45 
mployment,  183 

from  (=  away  from),  161, 

221 

chum,  156 

nchantment,  189 

fruitless,  205 

cunning,  163 

ncounter,  189 

function,  214 

curst,  191 

ndeavour  thyself,  206 

cut  (=curtal),  175 

nlarge  (=  release),  219 

gall  (in  ink),  192 

cypress,  177,  190 

ntertainment,  162,  167 

galliard,  152 

stimable  wonder,  166 

gaskins,  156 

dally  nicely,  187 
day-bed,  182 

xcept    before    excepted, 
148 

geek,  221 
gentleness  (=  favour),  167 

deadly  (=  deathlike),  164 

xpenses,  187 

giant  (ironical),  162 

dear  (dissyllable),  189 

xpress  myself,  to,  166 

giddily,  178 

dear  (=  heartfelt),  212 
decay  (transitive),  157 

xpressure,  175 
xtent  (=  conduct),  204 

gift  of  a  grave,  149 
ginger,  174 

deceivable,  208 

xtracting,  219 

gives   manhood  approba- 

dedication, 212 

xtravagancy,  166 

tion,  198 

Deeply  in,  182 

eye-offending,  144 

goes  even  (—  agrees),  218 

Index  of  Words  and  Phrases         243 


go  hunt,  143 

instance,  208 

manikin,  192 

golden  (,=  valuable),  208 
golden  shaft,  144 

in  standing  water,  159 
interchangement  of  rings, 

manners  (singular),  203 
marble-breasted,  213 

good  life,  170 

214 

masterly  (adverb),  176 

goodman  devil,  207 

into  (=  unto),  212 

maugre,  190 

good  my  mouse,  157 

in  voices   well    divulged, 

May  morning,  197 

go  shake  your  ears,  174 

165 

me  (ethical  dative),  191 

grace  (=  virtue),  210 

is  (with  plural),  179,  184 

me  (redundant),  148 

gracious,  164 

it  (indefinite),  220 

meddle    (=  have   to    do), 

Greek  (=  jester),  203 

199 

grey  eyes,  164 

jade  me,  186 

mercies,  211 

grise,  190 

jealous,  208 

Messaline,  166,  218 

gust,  149 

jealousy,  194 

metal  of  India,  180 

jets  (=  struts),  181 

mettle,  180,  221 

had  rather,  170,  215 

jewel,  198 

midsummer  madness,  196 

haggard  (noun),  188 

Jezebel,  181 

minion,  213 

hale  (verb),  192 
happily  (=  haply),  206 

joinder,  214 
jump  (=  agree),  218 

miscarry,  196 
misprision,  156 

hart  (play  upon),  143,  204 

Mistress   Mall's    picture, 

having  (=  property),  201 

kickshawses,  151 

i52 

haviour,  198 

King  Gorboduc,  205 

modest  (=  moderate),  148. 

heart    (play   upon),     143, 

205 

204 

abel,  164 

mollification,  162 

heat  (=  course),  143 

apsed,  195 

monster,  169 

hermit  of  Prague,  the,  205 

ate  (adverb),  147 

mortal  arbitrement,  200 

high  fantastical,  143 

easing,  158 

motions  (=  emotions),  176 

his,  195 
hob-nob,  199 

eave  to  leave,  178 
Legion,  197 

mouse,  157 
music  from  the  spheres, 

hold   acquaintance    with, 

eman,  170 

189 

146 
honesty,  173 

enten,  155 
ess  (=  inferior),  147 

mute  (noun),  148 
mutton  and  capers,  152 

horrible  (adverb),  198 

et  (=  hinder),  218 

hull  (verb),  161 

Lethe,  204 

natural  (play  upon),  149, 

humour        (=  capricious- 

icense  of  ink,  191 

172 

ness),  154 

ie  rich,  145 

nay  word,  174 

humour  of  state,  182 

ies  (=  lodges),  187 

newly  (=  lately),  213 

ife  in  it,  151 

new  map,  the,  193 

I  am  dog,  171 

ighter,  221 

nine  (eggs  of  wren),  192 

idleness  (=  pastime),  157 

imed,  196 

nonpareil,  164 

impeticos    thy   gratillity, 

ist  (=  bound),  189 

non-regardance,  213 

170 

ittle  (=  a  little),  215 

nor  never  none,  191 

importance     (=  importu- 

ived upon  the  sea,  146 

north,  the,  191 

nity),  221 

iver  (seat  of  love,  etc.), 

nor  will  not,  166 

impressure,  184 

179,  184,  191,  192 

notable,  211 

incardinate,  215 

ove-broker,  191 

notorious,  221 

incensement,  199 

ullaby  (verb),  210 

numbers  (=  measure),  184 

in  contempt  of  question, 

unacy,  161 

.    183 

O  (=  cry  of  pain)  ,  185 

incredulous,  196 

M,  O,  A,  I,  184 

oath  sake,  200 

Indies,  the,  194 

madonna,  156 

'Od's  lifelings!  215 

indifferent  (adverb"),  164 

maidenhead,  163 

o'erflourished,  202 

in  grain,  163 

maidhood,  190 

of  (in  adjurations),  218 

ingrateful,  212 

make   the  welkin  dance, 

of  (=on),  186,  195 

in  little,  196 

171 

old  age,  the,  177 

in  manners,  166 

malapert,  203 

on  (=  of),  220 

ill  my  star*,  185 

malignancy,  166 

one  self  king,  145 

244         Index  of  Words  and  Phrases 


opal,  178 

presupposed  upon,  221 

silly  sooth,  177 

open  (adverb),  195 

prevented,  189 

sir  (=  lord),  196 

opposite      (=  opponent), 

private  (=  privacy),  197 

Sir    (priestly   title),   200, 

185,  192,  199 

profound  (=  sage)  ,  160 

204 

orb  (=  earth),  187 

proper  (=  comely),  190 

skilless,  194 

orbed  continent,  219 

proper  (=  own),  220 

skills  (=  matters),  220 

othergates,  216 

proper-false,  168 

skipping    (=  wild,   mad), 

out  (=  out  of  pocket)  ,  175 

propertied,  206 

161 

over-swear,  219 

provident,  146 

'slid,  202 

owe  (=own),  166 

pure  (adverb),  212 
Puritan,  174,  175 

'slight,  181,  191 
sneck  up,  173 

Pandarus,  188 

Pythagoras,  206 

so  (=  so  be  it),  156 

parish-top,  149 

soft!  183,  185 

part  (adverb),  201 
participate,  218 

quick  (=  lively),  142 
Quinapalus,  156 

sometime,  213 
sonnet,  195 

part  of  death,  178 

quirk,  199 

sooth  (=  truth),  177 

passages  (=  acts),  193 

quit  (=  release),  221 

Sophy,  186,  200 

pass  upon,  187 

sound  (=  clear),  155 

passy-measures       pavin, 

receiving,  190 

sound  (or  south  ?),  139 

216 

recollected  terms,  176 

sowter,  184 

Patience       (personified), 

record  (=  remembrance), 

speaks  madman,  158 

179 

218 

spheres  (dissyllable),  189 

peascod,  159 

recover  (=gain),  175 

spinsters,  177 

pedant,  193 
peevish,  165 

reliques,  195 
relish,  204 

spirit  (monosyllable),  142 
spleen,  192 

Peg-a-Ramsey,  172 

remember  me,  219 

split,  145 

Penthesilea,  175 

remembrance   (quadrisyl- 

spoke (=  said),  154 

perchance,  145 

lable),  144 

squash,  159 

perdy,  206 

renegado,  193 

staniel,  184 

perfection  (by  marriage)  , 

renown  (verb),  195 

state  (=  authority),  182 

144,  165,  177 

retention,  212 

state    (=  chair  of  state)  , 

perfection      (quadrisylla- 

reverberate, 164 

182 

ble),  145 

round  (=  plain),  173 

state  (=  estate),  165 

perpend,  220 

rubious,  154 

stitches,  192 

personage,  159 

rudesby,  203 

stock  (=  stocking),  153 

perspective,  217 

rule  (=  conduct),  174 

stone-bow,  182 

pia  mater,  158 

stoup,  169 

pickle-herring,  158 

sack,  176 

stout  (=  proud),  186 

picture  of  we  three,  169 

sad  (=  sober,  grave),  195 

Strachy,  181 

piece  of  Eve's  flesh,  156 

said  (=  called)  ,  204 

strange  (=  distant),    186, 

Pigrogromitus,  170 

Saint  Anne,  174 

217 

pilchards,  187 

Saint  Bennet,  210 

strangeness,  203 

pipe  (  =  voice),  154 
pitch  (in  falconry),  142 
pluck  on,  222 

save  (=  except),  191 
scab,  183 
scathful,  2ii 

strangle    thy    propriety, 
213 
stuck  (=  thrust),  200 

point-devise,  186 

school  i'  the  church,  193 

substractors,  149 

points,  156 

scout  (verb),  198 

suffers    under  probation, 

politician,  191 
possess  (=  inform),  175 

season  (metaphor),  144 
self  (adjective),  145 

185 
suited  (=  dressed),  218 

post  (=  messenger),  165 

semblative,  155 

supportance,  201 

pound  (plural),  215 

she  (=  woman),  163 

swabber,  161 

practice  (=  trick),  221 

sheep-biter,  180 

swarths,  175 

praise  (=  appraise),  164 

shent,  207 

sweet  and  twenty,  171 

prank  (verb),  179 

sheriff's  post,  159 

sweet-heart,  150 

pregnant  (=  ready),  168, 

shrewdly,  221 

sweeting,  171 

189 

shrewishly,  159 

syllogism,  156 

Index  of  Words  and   Phrases         245 


tabor,  187 

trunks,  202 

weeds  (=  garments),  218 

taffeta,  178 

tuck  (=  rapier),  199 

welkin,  171,  188 

tainting,  213 

well-a-day  that,  207 

take  air  and  taint,  197 

unauspicious,  212 

well-favoured,  159 

take  thy  fortunes  up,  213 

unchary,  198 

were  better,  168 

take  up  (quarrel),  200 

undertaker,  201 

westward-ho,  190 

tall,  149,  204 

unfirm,  177 

what  (=  what  a),  184 

tang,  185,  196 

ungird    thy    strangeness, 

what  (=  who),  147,  158 

Tartar,  187 
taste  (=  try),  189,  199 

203 
unhatched,  199 

what's  to  do?  195 
what  time,  209 

taxation,  162 

unkind,  201 

where,  218 

tender  (=  cherish),  213 

unmatchable,  160 

whiles,  195,  209 

testril,  170 

unprizable,  211 

whipstock,  170 

that  (conjunctional  affix), 

unprofited,  154 

whirligig,  222 

148,  165,  191,  213,  222 

upon,  221 

windy  side,  197 

that  (=in  that),  142 

upshot,  206 

wit  and  safety,  217 

these  set  kind,  157 

use  (=  usury),  188 

witchcraft,  212 

this     great     lubber,     the 
world,  202 

use  (verb),  177 
usurp,  160 

with  (=  by),  157 
wive  (verb),  224 

those  poor  number,  145 

woodcock,  183,  206 

thou  (verb),  192 
thought  (=  love  ?),  179 

validity  (=  value),  142 
venerable,  201 

worn  (=  forgotten),  177 
worth  (=  wealth),  194 

thought  is  free,  150 

vent,  202 

wrack,  212 

throw,  210 

vice,  207 

wrangle,  208 

Tiger  (name  of  ship),  211 

viol-de  gamboys,  149 

tillyvally,  172 

VOX,    220 

yare,  199 

time  pleaser,  175 

vulgar  proof,  190 

yellow  stockings,  185,  195 

tinkers,  173 

yeoman  of  the  wardrobe, 

to  (infinitive),  165 

wainropes,  192 

181 

tongues  (play  upon),  151 

was  (=  had  been),  207 

you  (redundant),  164 

trade,  189 

watch,  182,  214 

you  were  best,  156,  195 

tray-trip,  186 

water  (in  diagnosis),  197 

triplex,  210 

waxen  hearts,  168 

zanies,  157 

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plants,  in  this  way  proceeding  from  the  familiar  and 
well-known  to  the  more  primitive  and  obscure  forms. 
The  experiments  described  are  simple,  requiring  only 
such  appliances  as  the  teacher  and  pupil  can  easily  de- 
vise. Practical  questions  are  given  at  the  end  of  each 
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